During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion (...) declined, the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

Modern scholarship has tended to separate literature and theology. Yet it is impossible to understand the ideas of such Victorian theologians as Hare and Maurice, Keble and Newman without reference to contemporary literary criticism - just as it is impossible to understand criticism of the period (and the sensibility it implies) isolated from its theology. This book is an attempt to reinterpret a whole theological tradition in the light of its members' views on language and poetry, and associated ideas (...) of imagination, myth and symbol. Dr Prickett argues that Coleridge and Wordsworth began a theological revolution by reintroducing to the Anglican Church a mode of thinking that had become submerged, or died out. "Their 'organic' aesthetics, with roots both in England and Germany, carried with them a theory of symbolism and of the unconscious, which, while originally derived from theology, provided an independent and parallel tradition to contemporary 'Paleyite' apologetic. From them Maurice, Keble and Newman were able to draw the conception of an 'idea' as living and creative, and of the Church itself as 'poetic'. (shrink)

Nevertheless, Marx's essay ["On the Jewish Question"] has a profound bearing upon The Jew of Malta; their conjunction enriches our understanding of the authors; relation to ideology and, more generally, raises fruitful questions about a Marxist reading of literature. The fact that both works use the figure of the perfidious Jew provides a powerful link between Renaissance and modern thought, for despite the great differences to which I have just pointed, this shared reference is not an accident or a (...) mirage. "On the Jewish Question" represents the nineteenth-century development of a late sixteenth-century idea or, more accurately, a late sixteenth-century trope. Marlowe and Marx seize upon the Jew as a kind of powerful rhetorical device, a way of marshalling deep popular hatred and clarifying its object. The Jew is charged not with racial deviance or religious impiety but with economic and social crime, crime that is committed not only against the dominant Christian society but, in less "pure" form, by that society. Both writers hope to focus attention upon activity that is seen as at once alien and yet central to the life of the community and to direct against that activity the anti-Semitic feeling of the audience. The Jews themselves in their real historical situation are finally incidental in these works, Marx's as well as Marlowe's, except insofar as they excite the fear and loathing of the great mass of Christians. It is this privileged access to mass psychology by means of a semimythical figure linked in the popular imagination with usury, sharp dealing, and ruthless cunning that attracts both the sixteenth-century playwright and the nineteenth-century polemicist.1 · 1. Anti-Semitism, it should be emphasized, is never merely a trope to be adopted or discarded by an author as he might choose to employ zeugma or eschew personification. It is charged from the start with irrationality and bad faith and only partly rationalized as a rhetorical strategy. Marlowe depicts his Jew with the compulsive cruelty that characterizes virtually all his work, while Marx's essay obviously has elements of a sharp, even hysterical, denial of his religious background. It is particularly tempting to reduce the latter work to a dark chapter in its author's personal history. The links I am attempting to establish with Marlowe or the more direct link with Feuerbach, however, locate the essay in a far wider context. Still, the extreme violence of the latter half of Marx's work and his utter separation of himself from the people he excoriates undoubtedly owe much to his personal situation. It is interesting that the tone of the attack on the Jews rises to an almost ecstatic disgust at the moment when Marx seems to be locating the Jews most clearly as a product of bourgeois culture; it is as if Marx were eager to prove that he is in no way excusing or forgiving the Jews. Stephen J. Greenblatt is the Class of 1932 Professor of English Literature at the University of California at Berkeley. He is the author of Sir Walter Raleigh: The Renaissance Man and His Roles, Renaissance Self-Fashioning: From More to Shakespeare, Marvelous Possessions: The Wonder of the New World, and the editor of a collection of essays, New World Encounters. (shrink)

Originally published in 1980, this is a study of the 'romanticism' of Coleridge and Wordsworth. Their concern with creativity, and the conditions that helped or hindered their own artistic development, produced a new concept of mental growth - a 'modern' view of the mind as organic, active, and unifying. In particular, we see how their aesthetics evolved from a personal and intuitional need to reaffirm 'value' in their own lives. Their discovery of the fundamental ambiguity of such intuition is discussed (...) in relation to some ideas of Empson, Gombrich, and Ehrenzweig. As well as an essay in criticism, this is a contribution to the history of ideas, drawing together points in the background of philosophical and psychological theory from Hartley and Wesley to John Stuart Mill. Since many of our ideas about imagination, symbolism, and creativity are ultimately derived from Coleridge and Wordsworth, this is a book for students of romantic and modern literature. (shrink)

Introduction: Ancient & modern : the braid of Cassiodorus -- Tradition, literacy and change -- Church versus scripture : the idea of biblical tradition -- Revolution and tradition -- Re-envisioning the past : metaphors and symbols of tradition -- Inventing Christian culture : Volney, Chateaubriand and the French Revolution -- Herder, Schleiermacher, Novalis and Schlegel : the idea of a Christian Europe -- Translating Herder : the idea of Protestant Reformation -- Keble and the Anglican tradition -- Newman and the (...) development of tradition -- Arnold : taking religion out of religion -- Radical tradition : theologizing Eliot -- Epilogue: Re-energizing the past -- Appendix: Velázquez and the royal boar hunt. (shrink)

"A consistently informative and often impressively detailed analysis of Anglo-Saxon heroic stories (especially Beowulf, Brunanburh, Maldon), this study pulls them out from under the pall of pseudo-mystical Germani-schism that has shrouded them for generations and returns them to something of their own historical, and especially political, origins."--R. A. Shoaf, University of Florida Anglo-Saxon poems and fragments seem to preserve a long-standing Germanic code of heroic values, but John Hill shows that these values are probably not much older than the poems (...) that record and advance them. In the first book-length application of anthropological research to Old English heroic literature, Hill demonstrates that the loyalties and values celebrated in "The Battle of Brunanburh," "The Battle of Maldon," and numerous other heroic episodes in Old English literature are not aspects of an archaic or ancient ethical life but instead political models serving the interests of West Saxon kingship and hegemony. Using the much more complicated Beowulf as an illuminating counterpoint, Hill works out the development in the heroic literature of these new ideals. Employing anthropological and psychoanalytic perspectives, Hill reopens for study an important subject of Old English literature long thought settled, and he provides a window onto the process of Anglo-Saxon state formation that should appeal to medievalists in both literary studies and history. John M. Hill is professor of English at the U.S. Naval Academy and author of several books, including Chaucerian Belief and The Cultural World in Beowulf. (shrink)

In an updated edition of his hugely successful student introduction to English literature from 1100 to 1500, J. A. Burrow takes account of scholarly developments in the the field, most notably devoting a final chapter to the impact of historicism on medieval studies. Full of information and stimulating ideas, and a pleasure to read, Burrow's book deals with circumstances of composition and reception, the main genres, 'modes of meaning', and medieval literature's afterlife in modern times. It shows (...) that the literature of authors such as Chaucer, Gower, and Langland is more readily accessible than usually imagined, and well worth reading too. By placing medieval writers in their historical context - the four centuries between the Norman Conquest and the Renaissance - Professor Burrow explains not only how they wrote, but why. (shrink)

An increasing number of contemporary scientists, philosophers and theologians downplay their professional authority and describe their work as simply 'telling stories about the world'. If this is so, Stephen Prickett argues, literary criticism can be applied to all these fields. Such new-found modesty is not necessarily postmodernist scepticism towards all grand narratives, but it often conceals a widespread confusion and naïvety about what 'telling stories', 'description' or 'narrative', actually involves. While postmodernists define 'narrative' in opposition to the experimental (...) 'knowledge' of science, some scientists insist that science is itself story-telling ; certain philosophers and theologians even see all knowledge simply as stories created by language. Yet story telling is neither innocent nor empty-handed. Prickett argues that since the eighteenth century there have been only two possible ways of understanding the world: the fundamentalist, and the ironic. (shrink)

The “affective turn” is by now long established, part of a wider surge of interest in emotion playing out in a range of disciplines. In literary studies, the conversation about how affect theory might help us to interpret literature is still emerging. The goal of the present discussion is to provide a critical overview of work by scholars who draw on the insights of recent theory to read literary texts written in English. At the same time that the (...) discussion offers an appraisal of the current state of scholarship, it also seeks to identify emerging new directions in research. (shrink)

At the age of eighty-four, Thomas Hobbes wrote an autobiography in Latin elegaics. Unsurprisingly, it was not as widely read as his two great philosophical works, Leviathan and Behemoth, in which he laid out a set of sociopolitical theories that enraged many of the philosophers and moralists of Europe. In this comprehensive biography, first published in 1904, Sir Leslie Stephen charts the character and changes of Hobbes' thinking, from the scholasticism of his early Oxford education, to his later devotion (...) to geometry and deductive science. With an emphasis on personal influences, Stephen sets Hobbes and his work in the historical context of Hobbes' often difficult patrons, the Civil War, and the Restoration, providing an insight into the life of the eminent philosopher and into the tenets of early twentieth-century biographical writing. An interesting text for students of both philosophy and English literature. (shrink)

Prickett charts the schism, opened at the end of the oighteenth century, between biblical hermeneutics and literary criticism. This split has profound implications for both contemporary biblical translation and literary theory. The author investigates the critical commonplace that religious language is essentially poetic, and traces the development of that view in the writings of Dennis and Vico, Herder and Eichhorn, Ccoleridge and Arnold, Wordsworth and Hopkins, and Austin Farrer and Paul Ricouer. This concept continues to provide a terminology for (...) discussing narrative that can no longer be interpreted literally or allegorically, but has also led some critics to devise inadequate translation theories and conceptions of metaphor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 341-362 [Access article in PDF] Virgin Father and Prodigal Son Stephen Brockmann I IN BOTH THE UNITED STATES and Germany—as well as in much of the rest of the Western world—the baby-boom generation now holds a controlling position in politics, economics, and culture. The election of Bill Clinton (born in 1946) to the Presidency signaled the generational shift in the United States (...) as early as 1992, and that shift was confirmed by the election campaign of 2000, in which both candidates, Al Gore (born in 1948) and George W. Bush (born in 1946), in spite of their differences, represented the same generation. In Germany the political shift in generations did not occur until 1998, when Gerhard Schröder (born slightly before the beginning of the German baby boom, in 1944) defeated Helmut Kohl (born in 1930).Significantly, Kohl is a member of the generation of Germans born during the 1930s and reared during the years of the Third Reich but too young to have played any significant role, either negative or positive, during the Nazi era. No member of this generation born in the 1930s ever became President in the United States, where the generation of World War Two veterans dominated national politics from Eisenhower to George Herbert Walker Bush. However what in America is a "silent generation" has been, in Germany, the generation most closely identified with the success of the Federal Republic of Germany: these were the so-called Flakhelfer (antiaircraft helpers) who had been children during the war. Kohl therefore famously referred to them as having the "grace of late birth," meaning that they, unlike the war veterans, were presumably untouched by any form of collective guilt for Nazi crimes against humanity. Whereas in the United States the Presidency was transferred directly from the World War Two veterans to [End Page 341] baby boomers—and in the case of the two Bush presidencies, literally, albeit indirectly, from father to son—in Germany the transition from the World War Two veterans (particularly former Chancellor Helmut Schmidt) to the baby boomers was interrupted by a long period of domination by the in-between generation of Flakhelfer.In both countries the baby-boom generation represents a significant shift in sensibilities and encompasses the generation involved in student protest and oppositional social movements in the 1960s and 1970s. In the United States these included the anti-Vietnam War movement, the feminist and gay-rights movements, the sexual revolution, the civil-rights movement, and the ecological movement, as well as, on the extreme fringes, terrorist groupings such as the Weather Underground and a great many religious sects and cults. In Germany the baby boomers formed many parallel groups and movements, including antiwar, feminist, ecological, and gay segments, as well as a proliferation of sectarian Marxist political groupings (so-called K-Gruppen, with the "K" meaning "Kommunist"). In the United States, Bill Clinton was an antiwar protester in the 1960s and 1970s, while both Gerhard Schröder and his Green Foreign Minister Joschka Fischer (born in 1948) had participated in left-wing political movements during the same period.In both West Germany and the United States the heyday of protest movements in the 1960s and 1970s signaled a generational split, with younger people—the very generation that is now in power in the two countries—accusing their elders of Machiavellian cynicism, imperialism, patriarchy, and worse. Such accusations can be recalled by the formerly popular slogans "Hey, hey, LBJ, how many kids did you kill today?" in the United States and "Unter den Talaren der Muff von tausend Jahren" ("under the academic regalia the stench of a thousand years") in Germany. The latter slogan was a reference not just to a generalized stodginess on the part of elderly German academics but to Hitler's invocation of a "Thousand-Year Reich;" German students were none-too-subtly suggesting that many of their professors had once been Nazis.The difference in these two slogans—one referring to past and the other to present sins—corresponds to a major distinction between the two baby... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Elizabethan Bacchae STEPHEN ORGEL Euripides’s Bacchae, with its antic hero and celebration of the joys of revenge, would seem to be especially relevant to Elizabethan drama, an ancestor of The Spanish Tragedy or Hamlet. In fact, however, it seems to have been practically unknown to the Elizabethans. With the new ProQuest version of EEBO (Early English Books Online) it is now possible to search early (...) class='Hi'>English books for specific references; so I paired the name Euripides with books printed in England before 1640 to see what came up. I got 474 hits. Many of these, of course, were duplicates, appearing in works that were issued in multiple editions—the actual figure, however, was still something over three hundred. Most of those, however, were cases in which Euripides’s name simply appears in a list of famous ancient authors. Citations which actually quoted Euripides for the most part indicated no knowledge of the work cited, but were only bits of wisdom that might have come from any of the multitude of collections of aphorisms and moral stories throughout the period. There was only one English edition of a play of Euripides in Greek, The Trojan Women, published by John Day in 1575— continental editions were, of course, easily obtainable, but it must be to the point that English publishers did not see a sufficient market to produce them domestically; and there were no subsequent editions of Day’s Trojan Women. As for The Bacchae, I found only a single case where I believe it is being cited, and in a context, moreover, that indicates some familiarity with the play. John Bishop’s Beautiful Blossoms, a collection of historical anecdotes published in 1577, recounting the history of Demetrius, king of Macedonia, says, “Then fled Demetrius unto Thebes, where one scoffingly applied vnto him that verse arion 28.3 winter 2021 64 the elizabethan bacchae of Euripides: he came vnto the Dyrcean springs, and Ismenus, his divine and goodly fourme and shape being chaunged in to a mortall.”1 This is a version of a bit of Dionysus’s opening speech, I am here at the springs of Dirce, the river Ismenos, Changing my shape from divine to mortal... There is no reason to assume that John Bishop (about whom I can learn nothing) knew the play, but he is certainly citing someone who did. The play, then, to the Elizabethans was either practically unknown or deliberately ignored. It was not translated into English until the 1780s, and then two translations were published within a year of each other—for the English, it was an enlightenment and romantic text. Schlegel’s Lectures on Dramatic Art and Literature (delivered 1806, published 1846) and Nietzsche’s Birth of Tragedy (1872) were the works that established The Bacchae as the quintessential Greek tragedy, though for Nietzsche, ironically, the two destroyers of the Greek tragic sense, the two great cultural villains, were Euripides the ironist and Socrates the arch-rationalist. But Nietzsche sees Euripides, at the end of his life, having a major change of heart, realizing that Dionysus was simply too powerful to be expunged from art and society; and The Bacchae was thus the fullest expression of this tragic truth. The problems with this argument are manifold: Euripides the ironist is quite evident in The Bacchae, so it hardly represents a change of heart; and the claims of the irrational are fully present in his earlier plays, for example, in Hippolytus, where all the poetic energy is in expressing the uncontrollable violence of passion, and the virtues of morality and self-control are meagre indeed. The essay was soundly refuted in its own time, and Nietzsche withdrew and recanted it. Its celebrity is a modern phenomenon: whatever its historical defects, it speaks to the dangerous attractions of unreason. There is a perverse element in Nietzsche’s argument, too: Dionysus, as the embodiment of revelry, is surely as essential Stephen Orgel 65 to comedy as to tragedy; and one could press this further. At the end of The Symposium, Socrates tells Agathon and Aristophanes, tragic and comic dramatists, that their arts (or crafts: the word is techne) are essentially the same. Heavy weather has... (shrink)

This study is the first sympathetic philosophical treatment in English of the complete works of John Toland (1670-1722). Professor Daniel presents Toland as a champion of religious toleration and civil liberty whose writing is important because it brings.

This new edition of a classic study contains a specially written preface evaluating contemporary feminist criticism.

This paper investigates the influence of contrastive stress in resolving potential semantic ambiguities. The sentences under investigation contain the focus operator only. Sentences with only have three main properties: (a) some sentential element is typically in focus, (b) the speaker presupposes that a set of alternatives to the focus element (the contrast set) has previously been introduced in the context; and (c) the speaker makes the assertion that the focus element has some unique property which other members of the reference (...) set lack. Previous literature on focus has concluded that stress plays a role in the interpretation of only-sentences in many natural languages, including English (Rooth, 1992). In processing terms, this suggests that contrastive stress could immediately determine which NP bears the semantic focus (and therefore the NP that presupposes a contrast set in the context). On this scenario, the processing cost associated with contrastive stress should be no greater than the cost associated with neutral stress. (shrink)

We have seen that we cannot de-tense a sentence like (15) simply by changing its verb, since the tense of such a sentence is determined by a temporal adverb. More importantly, we have seen that de-tensing is a process of removing certain temporal restrictions from the truth-conditions of tensed sentences, and that tensed and tenseless forms of a verb do not differ in sense. Once we understand this, and once we realize that it is an historical accident that the tense (...) of sentences in English if often indicated by means of the grammatical device of inflecting verbs, tensed verbs no longer seem to be the sort of item that needs to be purged from ordinary language in constructing its tenseless analogue. Indeed, although the distinction between tensed and tenseless verbs may still be of philosophic interest, this distinction hardly seems to deserve the pivotal role assigned to it in the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books 1–5Stephen M. WheelerWilliam S. Anderson, ed. Ovid’s Metamorphoses: Books 1–5. With introduction and commentary. Norman and London: University of Oklahoma Press, 1997. vi 1 578 pp. Cloth $49.95; paper, $21.95.For those who labor in the vineyard of Ovid’s Metamorphoses, the vintage of 1997 should be a memorable one. One of the year’s most notable releases is Anderson’s second installment to his Oklahoma text and commentary. The first volume—introduction, (...) text, and commentary to books 6–10—appeared hysteron proteron in 1972. The new edition, covering books 1–5, resembles its older sibling in format and conception but also benefits from developments in Ovidian scholarship since 1972. The introduction follows the same basic framework as its predecessor in surveying Ovid’s career, subsequent reception of the Metamorphoses, plan and tone of the poem, poet at work, manuscript tradition, and selected bibliography. But the contents of each section are [End Page 170] updated, and exemplary discussions are recast to reflect the material of books 1–5. The Latin text is, of course, different too. Now Anderson reprints, without critical apparatus, the sixth edition of his Ovidius, Metamorphoses (Stuttgart and Leipzig: B. G. Teubner, 1993), which, incidentally, incorporates illa instead of illas at 1.2. After the text come the notes, which run to 420 pages. The average of one page of commentary per ten lines of poetry equals the rate of the earlier volume. This may seem a lot at first sight, especially given the compact format of the pages. Yet if one compares Anderson’s ratio of commentary to text with that of other commentaries on individual books of the Metamorphoses, there is little significant difference (Bömer is the exception!). Finally, the volume is equipped with a ten-page index.The format of the new commentary is more reader-friendly than the old. In addition to the headings (in capitals) for major episodes, Anderson now inserts subheadings (in italics) for individual scenes, which help to articulate what he takes to be the structural units within each book. Moreover, he introduces each book with a survey of its contents, and he prefaces each myth or scene with background information about sources, literary models, and Ovid’s own innovations. The notes themselves offer a reasonably current and welcome alternative to the existing English-language commentaries that cover books 1–5: A. G. Lee (book 1); J. Moore-Blunt (book 2); A. A. R. Henderson (book 3); and the briefer notes of D. E. Hill to books 1–4 and 5–8. Of these, the most closely comparable with Anderson are the school commentaries of Lee and Henderson. While Anderson cites Lee frequently in his comments on book 1, the differences of approach and interpretation between the two are so great that there is little danger of duplication and plenty of room for dialogue. Henderson’s commentary, which receives no notice from Anderson, is pitched primarily to the sixth-form pupil and first-year university student. Anderson aims a little higher: high enough indeed that he keeps his reader abreast of Bömer’s commentary. But Anderson generally refrains from citing secondary literature, even though his views are clearly informed by the work of scholars such as Bernbeck, Otis, Segal, Galinsky, and Solodow.Nowhere in the new edition does Anderson actually state who his audience is. Perhaps it goes without saying that such a commentary is directed toward students. But perceptive readers will realize that Anderson engages a multiple audience that includes teachers and scholars as well. It may therefore be helpful to spell out what level of competence Anderson expects of his readers. In the first place, thorough familiarity with Latin morphology is required, because Anderson provides few prompts. Naturally, rare verb forms receive explanation, and odd items, such as Greek declensional endings, are clarified. If Anderson is sparing in morphological assistance, he is quite generous in matters of syntax, regularly explaining case usage and complex verbal constructions. He also draws attention to characteristic syntactic features of Ovid’s style, such as the pluperfect tense to set a scene, participial subordination, or the relative [End Page 171] clause placed before... (shrink)

Ian Duncan’s Human Forms and Devin Griffiths’s Age of Analogy attempt to illuminate inter­actions between evolutionary theories and literature from the late eighteenth century up through the nineteenth century. They do not advance knowledge about this subject. Both authors treat evolution as a semi-fictional construction that owes more to literary inspiration than to the scientific method, and they reduce literature to a battleground for ideological forces. They write using dense terminology, shifting rhetoric, and flights of verbal performance that (...) obscure their claims. In all these respects, they are representative of the field “science and literature”-and particularly of the subfield that studies evolution and literature. I analyze the history of this subfield of literary scholarship and attempt to explain how it developed into its present form. The subfield was founded in the 1980s on the basis of poststructuralist theory and has never escaped the core assumptions of that theory: our minds cannot reach outside culture; our thoughts, behaviors, and ideas about the world are primarily the result of our culture; some cultural traditions are oppressive while others are liberating; and the meaning of texts cannot be determined. Though Duncan and Griffiths represent the highest level of schol­arship on evolution and literature, I argue that they fail their fascinating subject by offering very little that is new within their own field, and nothing that is of value to other fields. (shrink)

_Philosophy Beside Itself _ was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The writings of French philosopher Jacques Derrida have been the single most powerful influence on critical theory and practice in the United States over the past decade. But with few exceptions American philosophers have taken little or no interest in Derrida's work, and the task of reception, (...) translation, and commentary has been left to literary critics. As a result, Derrida has appeared as a figure already defined by essentially literary critical activities and interests. Stephen Melville's aim in _Philosophy Beside Itself _ is to insist upon and clarify the distinctions between philosophy and criticism. He argues that until we grasp Derrida's philosophical project as such, we remain fundamentally unable to see his significance for criticism. In terms derived from Stanley Cavell's writings on modernism, Melville develops a case for Derrida as a modernist philosopher, working at once within and against that tradition and discipline. Melville first places Derrida in a Hegelian context, the structure of which he explores by examining the work of Heidegger, Lacan, and Bataille. With this foundation, he is able to reappraise the project of deconstructive criticism as developed in Paul de Man's _Blindness and Insight _and further articulated by other Yale critics. Central to this critique is the ambivalent relationship between deconstructive criticism and Lacanian psychoanalysis. Criticism—radical self-criticism—is a central means through which the difficult facts of human community come to recognition, and Melville argues for criticism as an activity intimately bound to the ways in which we do and do not belong in time and in community. Derrida's achievement has been to find a new and necessary way to assert that the task of philosophy is criticism; the task of literary criticism is to assume the burden of that achievement. Stephen Melville is an assistant professor of English at Syracuse University, and Donald Marshall is a professor of English at the University of Iowa. (shrink)

One of many writers inspired by Laurence Sterne's Tristram Shandy, the German novelist Jean Paul Richter coined the term 'Shandean humour' in his work of aesthetic theory. The essays in this volume investigate how Sterne's humour functions, the reasons for its enduring appeal, and what role it played in identity-construction and in the representation of melancholy. In tracing its hitherto under-recognised impact both on literary writers, such as Jean Paul and Herman Melville, and on philosophers, including Hegel and Marx, the (...) collection reveals that Shandean humour is a Grenzgänger - a point of commerce not only between Anglophone and German discourses, but also between literature and philosophy.Klaus Vieweg is Professor of Philosophy at the Friedrich Schiller University of Jena; James Vigus is postdoctoral research fellow at the Department of English and American Studies, Ludwig Maximilian University of Munich; Kathleen M. Wheeler is Reader in English Literature at the University of Cambridge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:F. R. Leavis (Modern Cultural Theorists)Stephen OgdenF. R. Leavis (Modern Cultural Theorists), by Anne Samson; x & 196 pp. Toronto: University of Toronto Press, 1992, $45.00 cloth, $16.95 paper.If it is an overstatement to say that the waves of change currently disturbing the teaching of English in universities originated from the splash made by F. R. Leavis at Cambridge beginning in 1933, Anne Samson’s account of (...) the theorist’s influence scarcely admits it. Her chapter titles—“Leavis and the Growth of English Studies,” “English as a University Subject,” “Literary ‘Theory’ and Constituting the Canon”—indicate not only the range of issues connected with F. R. Leavis’s name but also his significant involvement in their genesis.Samson’s book portrays Leavis as the efficient cause in the establishment of university English as a critical, or more accurately a diagnostic, enterprise. At an early professional cost (he was denied faculty appointment at Cambridge for five years), Leavis helped cut English curricula free from philology, languages, and classical studies; a responsibility Samson partially excuses by connecting Leavis’s motivating principles back through Matthew Arnold to Dickens and Carlyle and even to one “Reverend H. J. Rose, a leading figure in the founding of King’s College, London... declaring in a sermon delivered in 1826 that literature teaches ‘the wisdom of men better and wiser than ourselves’ and prepares for the ‘examination of those moral and intellectual truths which are not only the worthiest exercise of our reason, but most concern our future destiny’” (p. 12).This moralism Samson sees as the central and redeeming principle in Leavis’s system. Specifically, she identifies the Condition of England debate—over the state of culture and economics in a “‘technologico-Benthamite world’” (p. 63)—as the key to Leavis’s literary criticism, his influential journal Scrutiny, and his wide-ranging reform endeavors. “Literature mattered to Leavis because he believed it to be the means, above all others, of combating the ills of a mechanised, constantly changing world and of restoring the heritage of those dispossessed by the machine” (p. 3).Professionally asserting the primacy of criticism over scholarship, then in his writings making no distinction between the literary and the social, Leavis ultimately refused any separation between literature and life. Samson carefully [End Page 360] traces this development in Leavis’s general theory in order to bring out its easily-overlooked implication for the social position of a literary academic. She quotes this crucial passage from Leavis: “The critic... is as much concerned with the health of the mind as any doctor with the health of the body. To set up as a critic is to set up as a judge of values... For the arts are inevitably and quite apart from any intentions of the artist an appraisal of existence” (pp. 15–16). No longer a mere scholar, or the type of irrelevant empiric Leavis so hated in the person of C. P. Snow, the Leavisite theorist is the grand physician diagnosing all society’s ills. Literary artists and their writings, so far from forming the most important part of literature, become perfectly irrelevant—“quite apart”—with the medicocritic prescribing universally “of existence.”Samson’s treatment of Leavis is analytical, though enjoyably and consistently biographical. For instance, her final, and largest, chapter shows the moralist model of the literary critic (the “judge of values”) in action by detailing the history of Leavis’s complete reversal of estimation between T. S. Eliot and D. H. Lawrence. Leavis originally gave Eliot “hero-worship” (p. 162) and dismissed Lawrence as “mechanical” (p. 157). But concurrent with Eliot’s progress to Anglo-Catholicism, Leavis’s moral judgments overturned and, true to type, he increasingly censured Eliot’s writings by diagnosing problems in the man, while he grew to idolize Lawrence; ironically for “rescuing life from... inner mechanisation” (p. 169).Such inconstancy, here expressed in every word, Samson sees as an historical mark of character which places Leavis among the “Great Men of Ideas” (p. 172).Stephen OgdenSimon Fraser UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

Several years ago, in a brilliant contribution to the Collection Archives Series, Michel de Certeau wove together a large number of seventeenth-century documents pertaining to the famous episode of demonic possession among the Ursuline nuns of Loudun.1 One of the principal ways in which de Certeau organized his disparate complex materials into a compelling narrative was by viewing the extraordinary events as a kind of theater. There are good grounds for doing so. After all, as clerical authorities came to acknowledge (...) the incidents of possession and treat them accordingly, they ceased to be isolated, private events occurring inside the convent walls and were transformed instead into public spectacles performed for a populace deeply divided between Catholics and Huguenots. Once or twice a day the nuns were taken from their needlework or tranquil meditations and led in small groups through the streets of the town to a church or chapel, where spectators had already gathered. At first these spectators were local townspeople, many of whom must have been acquainted with or even related to the nuns, but, as word of the possession spread, crowds of the curious arrived not only from the region but from all over France and from as far away as England and Scotland. The inns of the town were filled with these visitors who traveled to Loudun expecting to witness events there that were at once beyond nature and yet performed on schedule: repeatable, predictable, and—in their bizarre way—decorous.At the appointed times, beneath the expectant gaze of the crowd, the possessed women would ascend a scaffold, be loosely tied to low chairs, and begin to manifest their symptoms. From within each of the tormented bodies, a particular devil would arise and be constrained by the exorcist to identify himself. If a nun were possessed by more than one demon, the exorcist could dismiss one supernatural voice and demand that another come forth and occupy the tongue of the writhing woman. If the demon refused to cooperate in the interrogation, the presiding priest would solemnly remove the Holy Sacrament from the pyx and hold it up to the mouth of the possessed while the priests and spectators would assist by chanting the Salve Regina. This would provoke screams and violent contortions. Submitting to irresistible spiritual pressure, the devil would then be compelled to speak, confirming the Christian mysteries and the power of the Catholic church. “On stage,” writes de Certeau, “there are no longer human beings; in this sense, there is no longer anyone—only roles” . And these “roles” in turn are revealed to be the hidden truths that underlie the masks of ordinary life; more accurately, the ceremony has the power to convert ordinary life into mere masks, precisely so that these masks may be stripped away to reveal the inward drama of spiritual warfare. The demons appear at first to dominate that drama, forcing their wretched and unwilling hosts to manifest the power of darkness, but a spectacular ecclesiastical counterforce transforms the tragedy into a comedy in which the devil confesses that he has been vanquished by Jesus Christ. 1. See Michel de Certeau, La Possession de Loudun, Collection Archives Series, no. 37 ; all further references to this work, abbreviated PL, will be included in the text . On the relationship between exorcism and theater in this period, see also Henri Weber, “L’Exorcisme à la fin du seizième siècle, instrument de la Contre Réforme et spectacle baroque, » Nouvelle revue du seizième siècle 1 : 79-101. Stephen Greenblatt, the Class of 1932 Professor of English at the University of California, Berkeley, is a founder and editor of Representations. His most recent book, Renaissance Self-Fashioning: From More to Shakespeare, received the British Council Prize in the Humanities. He is presently completing a study of Shakespeare and the poetics of culture. “Marlow, Marx, and Anti-Semitism,” his previous contribution to Critical Inquiry, appeared in the Winter 1978 issue. (shrink)

The Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition, emphasizes diagnosis and statistically significant commonalities in mental disorders. As stated in the Introduction, “[i]t must be admitted that no definition adequately specifies precise boundaries for the concept of ‘mental disorder’ ” (DSM-IV, 1994, xxi). Further, “[t]he clinician using DSM-IV should ... consider that individuals sharing a diagnosis are likely to be heterogeneous, even in regard to the defining features of the diagnosis, and that boundary cases will be difficult to (...) diagnose in any but a probabilistic fashion” (DSM-IV, 1994, xxii). This article proposes that it may be helpful for clinicians to study narratives of illness which emphasize this heterogeneity over statistically significant symptoms.This paper examines the recorded experiences of unusually articulate sufferers of the disorder classified as Major Depression. Although sharing a diagnosis, Hemingway, Fitzgerald, and Styron demonstrated different understandings of their illness and its symptoms and experienced different resolutions, which may have had something to do with the differing meanings they made of it.I have proposed a word, autopathography, to describe a type of literature in which the author's illness is the primary lens through which the narrative is filtered. This word is an augmentation of an existing word, pathography, which The Oxford English Dictionary, Second Edition, defines as “a) [t]he, or a, description of a disease,” and “b) [t]he, or a, study of the life and character of an individual or community as influenced by a disease.” The second definition is the one that I find relevant and which I feel may be helpful to clinicians in broadening their understanding of the patient's experience. (shrink)

At Temple College, a community college in Texas, the administration forced Kerry Laird, a literature and composition professor, to remove from his office door the quote from Friedrich Nietzsche "Gott ist tot." The college says that to leave the phrase up would offend others and constitute an endorsement of the phrase. Laird, Cary Nelson, the national president of the American Association of University Professors, and William O. Stephens, chair of the American Philosophical Association Committee for the Defense of (...) the Professional Rights of Philosophers, see the ban as a violation of academic freedom and a double standard, since many other faculty members are permitted to display pro-religion statements and images on their doors. Stephens said that ever the ancient Athenians put Socrates to death for expressing non-traditional views, great philosophers have often caused offense. (shrink)

The eagerly-awaited second volume of The Cambridge Translations of Medieval Philosophical Texts will allow scholars and students access for the first time in English to major texts in ethics and political thought from one of the most fruitful periods of speculation and analysis in the history of western thought. Beginning with Albert the Great, who introduced the Latin west to the challenging moral philosophy and natural science of Aristotle, and concluding with the first substantial presentation in English of (...) the revolutionary ideas on property and political power of John Wyclif, the seventeen texts in this anthology offer late medieval treatments of fundamental issues in human conduct that are both conceptually subtle and of direct practical import. Special features of this volume include copious editorial introductions, an analytical index, and suggestions for further reading. This is an important resource for scholars and students of medieval philosophy, history, political science, theology and literature. (shrink)

This work is the latest contribution to the Clarendon Later Ancient Philosophers series edited by Jonathan Barnes and A. A. Long. As with the earlier volumes (John Dillon's Alcinous, The Handbook of Platonism , R. J. Hankinson's Galen, On the Therapeutic Method Books I and II, Richard Bett's Sextus Empiricus, Against the Ethicists , and D. L. Blank's Sextus Empiricus, Against the Grammarians ), D(obbin) provides an introduction, an English translation, and a critical commentary predominantly focused on the philosophical (...) content of the text of an author from the period ranging from the first century BC to the fifth century AD. A bibliography of a dozen earlier editions of E(pictetus), a painstaking bibliography of secondary literature, an index nominum, a generous index locorum, and a brief subject index are also included. Overall this edition maintains the high standards characteristic of the CLAP series. (shrink)

The essays in this book criticise the new positivism in education policy, whereby education is systematically reduced to those things that can be measured by so-called 'objective' tests. School curricula have been narrowed with an emphasis on measurable results in the 3 R’s and the ‘quality’ of university departments is now assessed by managerial exercises based on commercial audit practice. As a result, the traditional notion of liberal arts education has been replaced by utilitarian productivity indices.

In lieu of an abstract, here is a brief excerpt of the content:Religious Pluralism and Christian TruthJoseph S. O’Leary has been named recipient of the 1998 Frederick J. Streng Book Award for his 1996 volume, Religious Pluralism and Christian Truth. Dr. O’Leary was born in Cork, Ireland, in 1949. He studied literature, theology, and philosophy in Maynooth, Rome, and Paris. After teaching briefly in the United States (University of Notre Dame and Duquesne University), he moved to Japan in 1983. (...) He has worked in association with the Nanzan Institute for Religion and Culture and currently teaches English literature at Sophia University (with special emphasis on Joyce and the modernist period) and a course on Japanese values at International Christian University.He has been working on a trilogy in fundamental theology that has taken on an increasingly interreligious character. The first volume is Questioning Back: The Overcoming of Metaphysics in Christian Tradition (Minneapolis: Winston/Seabury, 1985), reviewed in Buddhist-Christian Studies in 1987; a French version is in preparation. The second volume appeared first as La verite chretienne a l’age du pluralisme religieux (Paris: Cerf, 1994) and then as Religious Pluralism and Christian Truth (Edinburgh University Press, 1996). Joseph O’Leary is also coeditor of Heidegger et la question de Dieu (Paris: Grasset, 1980) and Buddhist Spirituality (vols. 8 and 9 of World Spirituality, New York: Crossroad, 1993 and 1999).Terry Muck: Why did you write this book?Joseph O’Leary: My earlier book, Questioning Back: The Overcoming of Metaphysics in Christian Tradition, advocated deconstruction of the Greek and Hebrew elements in Christian theology—the need for a radical retrieval of the tradition in the spirit of Heidegger’s “step back” from metaphysical systems to the original phenomena. In Religious Pluralism and Christian Truth, I broadened the horizon to see all religion as historical, cultural constructs growing and changing through mutual interaction. Living in Japan brought me a liberating sense of historical and cultural relativity and with it the sense that the Christian tradition should be thought of as an essentially incomplete project, always reaching out to other traditions in search of a fuller vision.But that discovery did not mean giving up on the Christian tradition.No. Rather than sitting back and enjoying the pluralism, I found myself more and more concerned with the question of truth. Followers of Jacques Derrida assured me that “truth” has been exposed as a historical myth. Struggling with Derrida I found rather a recontextualization of the value of truth. Moreover, the “situated truth” (always relative to a given context in culture and praxis) of historically formulated dogmatic propositions turned out to be quite defensible despite Derrida’s demolition [End Page 239] of notions of truth as totality (Hegel) or truth as presence (Heidegger). Christianity has nothing to fear from opening itself up to its historical relativity. Buddhism has long accepted the provisionality of all religious expressions. I focused especially on the notion of skillful means and on the theory of the two truths (conventional and ultimate) in Madhyamaka Buddhism.What does this “opening up” do to traditional Christian doctrines?The notion of God is not only compatible with such a relativized view of the status of religious language, but demands it. The biblical discourse about God consists in a constant deconstruction of old images of God by new ones. As for the role of Jesus Christ, Incarnation is an ongoing event in that the historical significance of Jesus is still unfolding. The uniqueness of Jesus resides not in some ontological amalgamation of divinity and humanity but in the specifics of his historical role. God’s Word is spoken in other ways elsewhere, indeed is spoken in all things, and its specifically “fleshly” (human and historical) and “eschatological” manifestation in the unfolding of the Jesus story should not be divorced from these wider contexts.How have these ideas been received?The most flattering response has come from the Society for Buddhist-Christian Studies in granting me the Frederick J. Streng Book Award. Streng’s book, Emptiness, which I read in Pittsburgh in 1982, opened my eyes to the world of Madhyamaka thought.Any criticisms?Predictably, the book has come under fire from two opposing camps. The Revue Thomiste reviewer claimed that I could... (shrink)

When Giambattista Vico wrote and rewrote the Scienza Nuova between 1725 and 1744, he all but completely occluded his own discipline – rhetoric. Professor of Latin Eloquence at the University of Nap...

This work is the latest contribution to the Clarendon Later Ancient Philosophers series edited by Jonathan Barnes and A. A. Long. As with the earlier volumes (John Dillon's Alcinous, The Handbook of Platonism , R. J. Hankinson's Galen, On the Therapeutic Method Books I and II, Richard Bett's Sextus Empiricus, Against the Ethicists, and D. L. Blank's Sextus Empiricus, Against the Grammarians), D(obbin) provides an introduction, an English translation, and a critical commentary predominantly focused on the philosophical content of (...) the text of an author from the period ranging from the first century BC to the fifth century AD. A bibliography of a dozen earlier editions of E(pictetus), a painstaking bibliography of secondary literature, an index nominum, a generous index locorum, and a brief subject index are also included. Overall this edition maintains the high standards characteristic of the CLAP series. (shrink)

Let your verse be the happy occurrenceSomehow within the restless morning windWhich goes about smelling of mint and thyme...And all the rest is literature.It's not lIterary unless it's depressing. Although this statement is unfounded, I often hear it from beginning students and nonacademics who believe that literature is always dark and dreary, and that literariness is tantamount to depictions of suffering, struggle, and tragedy. I typically respond to such comments in the usual English-professor way, pointing out (...) that literature represents the full range of human experience, and that the subject matter is far less important than the way in which a writer describes it. What is more, I say to such people... (shrink)

At a key moment in the 1988 presidential debates, Michael Dukakis claimed that the issue in the campaign was not ideology but competency. A major reason for Bush’s victory was that Dukakis was most competent at creating the illusion that even George Bush was competent. Even so, a useful way to begin some reflections on the law and literature revival is to note that even a hardened political pragmatist like Bush felt that it was in his political interest to (...) declare that the issue was indeed ideology. Bush’s insistence on the importance of ideology is noteworthy for those interested in the humanities because it seems to much at odds with the conservative position in current cultural politics. Ideology might be the issue in political campaigns, but for the conservatives it has no role in the humanities, which properly understood are the repository of essential human values. As contradictory as this position might seem, it is actually quite consistent. The ideological function of government is to impart to its citizens the proper values, values that find expression in great humanistic documents. To turn the role of the humanities from that of guarding and defending these sacred documents to that of demystifying them as ideological products is to undermine the possibility of government performing its proper ideological function. Radicals in the current wars over culture thus stand accused of subverting the fundamental values that the country represents. Brook Thomas is professor of English at the University of California, Irvine. He is the author of Cross-Examinations of Law and Literature; Cooper, Hawthorne, Stowe, and Melville and The New Historicism and Other Old-Fashioned Topics. (shrink)

The essay begins from Alan Gewirth's influential account of human rights, and specifically with his argument that the human right to political participation can only be fulfilled by competitive, liberal democracy. I show that his argument rests on empirical, rather than conceptual grounds, which opens the possibility that in China, alternative forms of participation may be legitimate or even superior. An examination of the theory and contemporary practice of ‘democratic centralism’ shows that while it does not now adequately support the (...) right to political participation, a reformed version could. I focus in particular on the roles that could be played by consultative institutions, looking both to recent Chinese proposals and to analogues currently existing in Japan. I conclude that a reformed democratic centralism may well be the objective toward which Chinese people should strive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Negative Capability Reclaimed: Literature and Philosophy Contra PoliticsIhab HassanI began a few years ago to try to make space in my reckoning and imagining for the marvellous as well as the murderous.Seamus HeaneyTwo concerns cross in this essay: the first, explicit, regards the current condition of the academic humanities, their idioms and axioms, especially in America; the second, implicit, regards my own need to confront criticism, its abstractions (...) that now enable, now disable, the profession and even more the experience of literature. Such concerns must mix speculation and autobiography, mix the pride with the pathos of mind.But I should admit it from the start: my title cries paradox. Negative capability reclaimed? Can reclamation dwell in “uncertainties, mysteries, doubts, without any irritable reaching after fact and reason,” as Keats thought, and can a critic aspire to the condition of a poet, in whom the “sense of Beauty overcomes every other consideration, or rather obliterates consideration”? 1Mine, I repeat, is a hybrid critical discourse, touched by exasperation more than mystery. Yet negative capability can still serve us as emblem of certain qualities, attitudes, dispositions that we bring to literature, without turning that happy phrase into yet another slogan. Beyond the arrogance of transient ideologies, beyond the mawkishness of self-regard, negative capability may offer us a kind of patience, perhaps ascesis, the intellectual and, yes, spiritual equivalent of discipline in our moment. [End Page 305]IStated baldly, my proposition, which I will need continually to texture and qualify, is this: the prevalence of politics, the obsession with power, the unrelieved pressure of both in the university, skew our language, thought, values. Thus the ancient quarrel between poetry and philosophy, between Homer and Plato, now cedes the field to a nastier agon between both and politics as GRIM (my acronym for the Great Rumbling Ideological Machine) grinds on. These are no abstractions; the clamorous evidence is all about, indicative even in its triviality, banality.Take a book blurb. Kathy Acker endorses a new, and quite intelligent work, entitled Male Matters, thus: “Calvin Thomas is able to hint at a way out of the prisonhouse of straight male identity.” Granted, this is but an ad in a university press catalogue. But what does the language reveal about the assumptions of academic discourse? “Prisonhouse,” really, for all unfortunate, straight males? Is a generalization of this kind permissible when blander generalizations about other groups raise such a hue and cry? Will straight African-American or Native American males feel “offended” by the statement? Or is it all a matter of restitution, categorical loyalty, political commitment? And when will that supreme fiction, the white, straight, bourgeois, rational male “subject” cease to prop up every ideological complaint?Thought blends into hype; words writhe; stereotypes become as transparent as the stereotypes they once repugned. But let us consider an example worthier of criticism. In his Inaugural Lecture as Robert Wallace Professor at the University of Melbourne, entitled “The Departure of English?” (the question mark risks disingenuousness), Professor Simon During inelegantly states: “The academic appropriation of the avant-garde transfiguration of values is happening as what I am calling the departure of English—in the relative decline of literary studies and cultural studies’ emergence.” 2 Professor During thus assumes, on behalf of cultural studies, the mantles of Friedrich Nietzsche, Arthur Rimbaud, Alfred Jarry, Hugo Ball—where is Antonin Artaud?—and Walter Benjamin, though none really had a mantle to bequeath. For a moment, the mind reels: Nietzscheans and poètes maudits, Pataphysicians and Dadaists, as apostles of cultural studies, of political correctness, group think, and GRIM? Involuntarily, the lines of William Butler Yeats, in “The Scholars,” sing out: “Lord, what would they say / Did their Catullus walk that way?” [End Page 306]We are all free, of course, to reinvent our ancestors and to derive later authority from what an earlier generation derided—free, this side of ludicrousness. But Professor During’s argument, a sort of academic conceit, discourages mere ridicule; it has pedagogical consequences. Thus he continues: “I am certainly not claiming a causal relation between modernism circa 1900 and academic cultural studies today. Rather I want to argue that cultural studies... (shrink)

Tzachi Zamir is Professor of English and General & Comparative Literature at the Hebrew University of Jerusalem, where he directs the Amirim Interdisciplinary Honors Programme in the Humanities. Just Literature: Philosophical Criticism and Justice is his fifth book, continuing the exploration of the relationship between philosophy and literature begun in Double Vision: Moral Philosophy and Shakespearean Drama (2007) and developed in Ascent: Philosophy and Paradise Lost (2017). Aside from his complex and innovative work in this (...) field, he is best-known for establishing the first systematic philosophical aesthetics of the art form of acting in Acts: Theater, Philosophy, and the Performing Self (2014). Just Literature is part of Routledge’s New Literary Theory series, published in the Routledge Focus format. Routledge Focus, like Palgrave Pivot and Emerald Points, is a fairly recent development in academic publishing, featuring short monographs whose publication is expedited in order to be able to provide commentary on or analysis of current events or topical issues. I am not sure about the value of the expedition for academic work, but I am in favour of the format, which is about half the length of a standard monograph and encourages clear, concise, and focused writing. Zamir introduces his unique approach to the overlap of literary studies and philosophy as being a response to the codependence of the aesthetic and epistemic values of literature, expressed in the following three claims: (1) exemplary literature enables insights by means of experiential pathways; (2) aesthetic value and epistemic or cognitive value are often interlinked; and (3) criticism becomes philosophical when it bridges the gap between emotion and insight. The purpose of Just Literature is twofold, to introduce philosophical criticism and to employ philosophical criticism to achieve a better understanding of the concept of justice. The monograph consists of an introduction, five chapters divided into two parts, a coda, and an appendix. The parts are divided by theory and practice, with the first sketching philosophical criticism in more detail than the introduction (Chapter 1) and introducing justice as a concept (Chapter 2). Part II applies this theory to practice, extrapolating the relationships between justice on the one hand and attachment (Chapter 3), pity (Chapter 4), and mercy (Chapter 5) on the other. The coda presents a pithy and memorable conclusion by means of a personal anecdote, recalling the author’s use of the same device in his second monograph, Ethics and the Beast: A Speciesist Argument for Animal Liberation (2007). (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

The broad outlines of Joyce's narrative are of course strongly Homeric: the three parts, with Telemachus' adventures at first separate from those of Ulysses, their eventual meeting, their homeward journey and return. Equally Homeric is the account of a heroic traveler picking his way among archetypal perils. That the Odyssey was an allegory of the wanderings of the soul had occurred to Joyce as to many before him, and he had long since designated the second part of a book of (...) his poems as "the journey of the soul" . He had also construed Stephen's progress in A Portrait as a voyage from Scyllan promiscuity in chapter 4. Although in Ulysses he diverged sharply from Homer in the order of events, Joyce clearly adapted the Homeric settings and what he chose to consider the prevailing themes. He found the Odyssey beautifully all-embracing in its vision of human concerns. His own task must be to work out the implications of each incident like a Homer who had long ago outlived his time and had learned from all subsequent ages. Joyce once asked his friend Jacques Mercanton if God had not created the world in much the same ways as writers compose their works; but he then bethought himself and murmured, "Perhaps, in fact, he does give less thought to it than we do." Neither God nor Homer could compete with Joyce in self-consciousness. Richard Ellmann, Goldsmiths' Professor of English Literature at Oxford University, received the 1960 National Book Award for his definitive James Joyce: A Biography. He has written extensively on Joyce and other modern writers, edited work by and about them, and examined the theoretical implications of biography in Golden Codgers. "Joyce and Homer" is a selection from his book, The Consciousness of Joyce, published by the Oxford University Press. (shrink)

This book is a collection of essays, and is an exercise in literary criticism. Most of the entries couple a philosopher with a literary artist, and the majority of these have an emphasis on the philosophical partner which one frequently fails to find in this sort of study. While few of the critics are capable of sustaining their subtle distinctions, a task properly required of a philosopher, it is nonetheless true that few philosophers can likewise do this. The ability to (...) systematically sustain these distinctions is what characterizes those first-order thinkers whom the body of philosophers and critics alike study. Granting this, the fact still remains that first-rate criticism is vastly more palatable intellectual fodder than is less than first-rate philosophizing. Studies such as the current one bring philosophy back into reality; the relation of a philosopher’s thought to his period, in all of the latter’s diversity, gives to that thought a realistic character that more transparently informs the creations of the fine arts than it does the original products of thought. And if thought is to avoid the sterility which so antagonized both a Sterne and a Hegel, and to become genuinely meaningful, this larger context will be forever indispensable.—R. J. G. (shrink)

Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives—from Catholic to Protestant to Mormon—contribute to literary criticism? Thirty well known contributors reflect on these questions, including iterary theorists Marshall Gregory, James (...) Phelan, and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections between literature, religion and philosophy. (shrink)