By David Mikics
A brand new guide of Literary phrases bargains a full of life, informative advisor to phrases and ideas that each scholar of literature must understand. Mikics’s definitions are essayistic, witty, realized, and consistently a excitement to learn. They sketch the derivation and heritage of every time period, together with particularly lucid causes of verse types and providing a company experience of literary classes and activities from classicism to postmodernism. The guide additionally offers a beneficial map to the complex and now and then complicated terrain of literary idea before everything of the twenty-first century: the writer has specific a sequence of phrases, from New feedback to queer idea, that serves as a concise yet thorough introduction to fresh advancements in literary learn. Mikics’s guide is perfect for school room use in any respect degrees, from freshman to graduate. teachers can assign person entries, a lot of that are well-shaped essays of their personal correct. worthy bibliographical feedback are given on the finish of such a lot entries. The Handbook’s relaxing variety and considerate viewpoint will motivate scholars to browse and research extra. each reader of literature may want to personal this compact, delightfully written advisor. (20070818)
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The German Romantic A. W. ” Instead of the ancient “unconscious unity of form and content,” the modern, who is denied this unity, seeks a greater intimacy with both. ) The most remarkable recent revival of a case for the ancients is contained in the writings of the political philosopher Leo Strauss and his followers. See Strauss, The City and Man (), and Stanley Rosen, The Ancients and the Moderns (). anti-masque. See The “antitheatrical prejudice,” as Jonas Barish calls it, is the fear or disapproval of spectacular representations.
An example of recognition is when (in Aristotle’s favorite tragedy, Sophocles’ Oedipus Rex) Oedipus realizes that he is himself the monstrous criminal he has been seeking. Reversal is the turning around from fortune to misfortune that guides most tragic narratives, including that of Oedipus. Aristotle’s ideas have had a long, sometimes eccentric afterlife. In the late seventeenth and eighteenth centuries, some neoclassical critics focused on, and misinterpreted, a few of Aristotle’s passing remarks about the unity of place, time, and action, in order to insist that a tragedy must occur in a single location and in the course of a single day.
What I am asking, instead, is that others cultivate their taste for, or appreciation of, such an object, in its beauty. On Kant, see Paul Guyer, Kant and the Claims of Taste (); Hans-Georg Gadamer, The Relevance of the Beautiful (). See also . A key term in Harold Bloom’s theory of literary influence (which was in turn influenced by W. Jackson Bate, The Burden of the Past and the English Poet ). For Bloom, any significant author must eventually become conscious of his or her belatedness: of coming after earlier, overshadowing presences who pervade the later author’s work.
A New Handbook of Literary Terms by David Mikics