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LITERARY CRITICISM - Semiotics & Theory
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By Dennis Keene, Columbia University Press Columbia University Pre
Yokomitsu Riichi occupied a central position in the Japanese literary world during the 1920's and 1930's. He is perhaps the most important counterpart in modern Japanese prose literature to the "modernist" writers at work in Europe during and following World War I. His experimental works of the mid-1920's are a fascinating, self-conscious attempt to introduce the modernism of Europe to what was, by any standards, an alien tradition. These experimental writings are perhaps the most striking example in Japanese literature of "European influence" can be. Dennis Keene's study, Yokomitsu Riichi: Modernist concerntrates on these early modernist works. Although he attends fully to Yokomitsu's works as worthy objects of study in themselves, Keene's real subject is the ways in which pme literature can affect another. "For modern Japanese literature, and for modern Japanese society as a whole, the overwhelming fact is the presence of the West." In this context Yokomitsu himself emerges as one of the most significant agents of this presence. In demonstrating how Yokomitsu and other writers of the early twentieth century created a new form of Japanese literature, Keene provides not only a significant study in comparative literature, but a paradigm of cross-cultural relations between Japan and the West.
FORMAT: Softcover
By Benjamin Suhl, Columbia University Press Columbia University Pr
This is the first survey and appraisal of the literary criticism written by Jean-Paul Sartre during the last thirty years. Benjamin Suhl relates Sartre's evolution as a systematic philosopher. For those not acquainted with all Sartre's critical writing during this period, the author includes descriptive presentation of the material, including recent article as yet unavailable in English.
FORMAT: Softcover
By James Burrill Angell
This volume argues that Jack London's Martin Eden and Henry Adams' The Education of Henry Adams are two of the first works in American literature to embody the motif of existentialism. The development of the existential dilemma in each work will be supported through references to earlier European existentialist writers, with Nietzsche as a focal point. The 19th century fin de siècle was a time of tremendous change, both materially and philosophically. The dawn of the last century was a time of great wealth and imperialistic expansion for Western civilization, but also a time in which the seeds were sown for later military conflict; the enormity of which the world had never witnessed before. From the vantage point of the post-World War years, the materialism of the fin de siècle was a decorative façade that concealed from view the underlying reality of the human abyss. The outbreak of the First World War changed all of that, and the two works examined here anticipated that change. Henry James described the underlying reality of the fin de siècle when he remarked: "To have to take it all now for what the treacherous years were all the while making for and meaning is too tragic for any words." Henry Adams and Jack London mirror this sentiment in their respective works by depicting the philosophical turbulence of the 19th century fin de siècle.
FORMAT: Softcover
By James Burrill Angell
This volume argues that Jack London's Martin Eden and Henry Adams' The Education of Henry Adams are two of the first works in American literature to embody the motif of existentialism. The development of the existential dilemma in each work will be supported through references to earlier European existentialist writers, with Nietzsche as a focal point. The 19th century fin de siècle was a time of tremendous change, both materially and philosophically. The dawn of the last century was a time of great wealth and imperialistic expansion for Western civilization, but also a time in which the seeds were sown for later military conflict; the enormity of which the world had never witnessed before. From the vantage point of the post-World War years, the materialism of the fin de siècle was a decorative façade that concealed from view the underlying reality of the human abyss. The outbreak of the First World War changed all of that, and the two works examined here anticipated that change. Henry James described the underlying reality of the fin de siècle when he remarked: "To have to take it all now for what the treacherous years were all the while making for and meaning is too tragic for any words." Henry Adams and Jack London mirror this sentiment in their respective works by depicting the philosophical turbulence of the 19th century fin de siècle.
FORMAT: E-Book
By Edward Tayler
This collection of writings by English Renaissance poets and essayists includes poems and essays by Ben Jonson, George Chapman and Samuel Daniel. Excerpts from Francis Bacon, John Milton, William Drummond, George Herbert, Andrew Marvell, Abraham Cowley. The book also surveys the origins, range and development of literary taste and practice in 16th and 17th century England. Then, as now, poets anchored their lines between the poles of tradition and inspiration, loyalty and liberty, art and truth. Edward W. Tayler is the emeritus Lionel trilling Professor in the Humanities at Columbia University. His other books include Nature and Art in the Renaissance, Milton抯 Poetry, and Donne抯 Idea of a Woman. p> 揟he selection is excellent?The introduction is most admirable and ?Tayler wisely is generous with explanations and identifications?His most volume supplants Sringarn抯 as THE best collection of seventeenth-century criticism.?/p> Seventeenth-Century News Winter 1967
FORMAT: Softcover
By Richard Harding
The far-reaching influence of the greatest writer of non-fictional prose of the English language on numerous writers and poets of the twentieth century.
FORMAT: Softcover
By Harvard University Press, Charles J. Rzepka
The Romantic poet—as exemplified by Wordsworth, Coleridge, and Keats—is attracted to and made anxious by two opposite ideas of the self. On the one hand, he identifies with the inner self as a mind wholly at one with its perceptions and with the world as an image within it. On the other hand, since this inner self is wholly private, the poet turns to others for confirmation of its reality, either literally in direct confrontations, or figuratively, in the "voice" and workmanship of his text. Because his dependence on others for a sense of his own reality jeopardizes the poet's feelings of self-possession, however, he tries to minimize this threat by manipulating of preempting others' responses to him. Previous discussions of the Romantic self have focused on the self as a mental power immanent in the vision of the world it shapes. Charles Rzepka now draws our attention to the poet's attitude toward the self as socially formed and confirmed, and the effects of this attitude on Romantic poetry and perception.
FORMAT: Softcover
By Wells Draughon
Is there anything that can be said about the value of a novel, story or film other than that one likes it? If such factors were made known, writers could use them to write books that readers would not only like better but would feel are worth reading. Do the techniques in books on writing produce such novels? Are some books good even though we do not like them? Should we force ourselves to like a book because an English professor or a critic insinuates that only people with good taste like that particular book? Do the "arbiters of good taste" have grounds supporting their claims that the books they like are good? What is the body of knowledge on which such expertise would have to depend? Do they have a right to impose their tastes on students and on the public?
FORMAT: Softcover
By Wells Draughon
Is there anything that can be said about the value of a novel, story or film other than that one likes it? If such factors were made known, writers could use them to write books that readers would not only like better but would feel are worth reading. Do the techniques in books on writing produce such novels? Are some books good even though we do not like them? Should we force ourselves to like a book because an English professor or a critic insinuates that only people with good taste like that particular book? Do the "arbiters of good taste" have grounds supporting their claims that the books they like are good? What is the body of knowledge on which such expertise would have to depend? Do they have a right to impose their tastes on students and on the public?
FORMAT: Hardcover
By Russell A. Berman
Berman has written a powerful example of the new literary history as well as a guide to the century that brought forth the modern German Novel. His book is important to students of German literature and of social and intellectual currents in the nineteenth and twentieth centuries, and also for those interested in the sociology of literature, critical theory, and neo-Marxist literary theory.
FORMAT: Softcover
By Richard Harding
The far-reaching influence of the greatest writer of non-fictional prose of the English language on numerous writers and poets of the twentieth century.
FORMAT: E-Book
By Wells Draughon
Is there anything that can be said about the value of a novel, story or film other than that one likes it? If such factors were made known, writers could use them to write books that readers would not only like better but would feel are worth reading. Do the techniques in books on writing produce such novels? Are some books good even though we do not like them? Should we force ourselves to like a book because an English professor or a critic insinuates that only people with good taste like that particular book? Do the "arbiters of good taste" have grounds supporting their claims that the books they like are good? What is the body of knowledge on which such expertise would have to depend? Do they have a right to impose their tastes on students and on the public?
FORMAT: E-Book
By Russell A. Berman
Berman has written a powerful example of the new literary history as well as a guide to the century that brought forth the modern German Novel. His book is important to students of German literature and of social and intellectual currents in the nineteenth and twentieth centuries, and also for those interested in the sociology of literature, critical theory, and neo-Marxist literary theory.
FORMAT: E-Book
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