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Critics Choice / So Alone Johnny Thunders - LP 5060174957758

Can the criticism of literature and culture ever be completely professionalized? Does criticism retain an amateur impulse even after it evolves into a highly specialized discipline enshrined in the university? The Critic as Amateur brings leading and emerging scholars together to explore the role of amateurism in literary studies. While untrained reading has always been central to arenas beyond the academy – book clubs, libraries, used bookstores – its role in the making of professional criticism is often disavowed or dismissed. This volume, the first on the critic as amateur, restores the links between expertise, autodidactic learning and hobbyist pleasure by weaving literary criticism in and out of the university. Our contributors take criticism to the airwaves, through the culture of early cinema, the small press, the undergraduate classroom and extracurricular writing groups. Canonical critics are considered alongside feminist publishers and queer intellectuals. The Critic as Amateur is a vital book for readers invested in the disciplinary history of literary studies and the public role of the humanities. It is also a crucial resource for anyone interested in how literary criticism becomes a richly diverse yet shared discourse in the 20th and 21st centuries.

In a collection that includes new essays written explicitly for this volume, one of our sharpest and most influential critics confronts the past, present, and future of literary culture. If every outlet for book criticism suddenly disappeared — if all we had were reviews that treated books like any other commodity — could the novel survive? In a gauntlet-throwing essay at the start of this brilliant assemblage, Cynthia Ozick stakes the claim that, just as surely as critics require a steady supply of new fiction, novelists need great critics to build a vibrant community on the foundation of literary history. For decades, Ozick herself has been one of our great critics, as these essays so clearly display. She offers models of critical analysis of writers from the mid-twentieth century to today, from Saul Bellow, Bernard Malamud, and Kafka, to William Gass and Martin Amis, all assembled in provocatively named groups: Fanatics, Monsters, Figures, and others. Uncompromising and brimming with insight, these essays are essential reading for anyone facing the future of literature in the digital age.

Edmund Wilson, 20th century America's most direct and readable critic of literature and society, was a man of many loves. In his half century as a major force in American letters he had an outsize romantic career that reflected the complex depths of his personality. Each woman whom he came to love was an alluring interpretative problem, an erotic and analytic challenge, a presence that fired his imagination. They came from the Greenwich Village of the 1920s, from his own upper middle class world of privilege, from New York's working class, from the high reaches of literary New York as well as from the workaday world of Talcottville in upper New York State.Who were they? Poet Edna St. Vincent Millay; actress Mary Blair; friends and drinking buddies Dorothy Parker, Louise Bogan, Dawn Powell, and Elinor Wylie; poet Leonie Adams; writer and intellectual Mary McCarthy; Mamaine Paget, later the wife of Arthur Koestler; and screenwriter and journalist Penelope Gilliatt were the best known. They appear here as personalities in their own right as well as in the roles they play in Wilson's biography. His Rabelaisian appetites, ardors and vulnerabilities, and conceptions of love and sex are a story in themselves.

"I believe in the critic’s business," Leavis remarks with some irony. His concerns here are with the problems and predicaments of contemporary civilization, the idea of the university as a creative center for an educated public, and the nature of thought as it occurs and operates in creative writing.

Book is in NEW condition. 1.55

Of all the Canterbury Tales, Geoffrey Chaucer’s Prioress’s Tale, in which a young schoolboy is murdered by Jews for singing a song in praise of the Virgin Mary, poses a problem to contemporary readers because of the antisemitism of the story it tells. Both the Tale’s antisemitism and its “Chaucerianism”—its fitness or aptness as part of the Chaucerian canon—are significant topics of reflection for modern readers, who worry about the Tale’s ethical implications as well as Chaucer’s own implications. Over the past fifty years, scholars have asked: Is the antisemitism in the tale that of the Prioress? Or of Chaucer the pilgrim? Or of Chaucer the author? Or, indeed, whether one ought to discuss antisemitism in the Prioress’s Tale at all, considering the potential anachronism of expecting medieval texts to conform to contemporary ideologies.The Critics and the Prioress responds to a critical stalemate between the demands of ethics and the entailments of methodology. The book addresses key moments in criticism of the Prioress’s Tale—particularly those that stage an encounter between historicism and ethics—in order to interrogate these critical impasses while suggesting new modes for future encounters. It is an effort to identify, engage, and reframe some significant—and perennially repeated—arguments staked out in this criticism, such as the roles of gender, aesthetics, source studies, and the appropriate relationship between ethics and historicism.The Critics and the Prioress will be an essential resource for Chaucer scholars researching as well as teaching the Prioress’s Tale. Scholars and students of Middle English literature and medieval culture more generally will also be interested in this book’s rigorous analysis of contemporary scholarly approaches to expressions of antisemitism in Chaucer’s England.  

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For the Anglo-American world, Edmund Burke is the touchstone of counter-revolutionary thought, but in this volume, Christopher Olaf Blum shows that in attempting to vindicate the principles that had, at its best, animated the Old Regime, and in critiquing the institutions and beliefs associated with the New Regime, the French counter-revolutionary tradition is unparalleled. To understand adequately what Georges Bernanos called the spiritual drama of Europe, it is a tradition that must be grappled with. Critics of the Enlightenment makes available new translations of representative selections from some of the leading French conservative thinkers of the nineteenth century: Franois de Chateaubriand, Louis de Bonald, Joseph de Maistre, Frederic Le Play, Emile Keller, and Rene de La Tour du Pin. The selections span much of the nineteenth century, from Chateaubriand's 1814 pamphlet against Bonaparte to La Tour du Pin's 1883 essay on the theory of the corporate state. The volume, therefore, not only includes responses of the French conservatives to the French Revolutions of 1789 through 1815, but also testifies to the continuing elaboration of this critique against the background of the troubled nineteenth century. Blum's introduction sets these selections within the contexts of the events giving rise to them and the lives of their authors. The French political philosopher Philippe Beneton supplies the book's foreword. Blum's elegant translations of texts heretofore difficult or impossible to find in English allow Anglophone readers to profit from the counter-revolutionaries' insights about social and cultural matters of perennial importance, such as the necessary roles of religion, family, and local communities within any larger political society--matters of pressing concern to the counter-revolutionaries of our own time

The critic's hornbook: Reading for interpretation [Jan 01, 1977] Dowling, William C ...

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"This is a mystery with Gaillac flavor to be savored" --Mystery Scene Magazine "A finely crafted and surprising mystery" --Kirkus ReviewsThe body of Gil Petty, America's most celebrated wine critic, is found strung up in a French Gaillac vineyard, dressed in the ceremonial robes of the Order of the Divine Bottle and pickled in wine. For forensic expert Enzo Macleod, the key to this unsolved murder lies in decoding Petty's mysterious reviews, which could make or break a vineyard's reputation. As he digs deeper for the motivation behind the shocking crime, Macleod finds that beneath the tranquil façade of French viticulture lurks a back-stabbing community characterized by a deadly rivalry--and home to someone who is ready to stop him even if they have to kill again to stop the investigation.

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This volume, originally published in 1960 by Arlington House, contains the most impressive collection of essays criticizing Lord Keynes's General Theory ever assembled in book form. The editor has added a new introduction and preface to this volume. An outstanding anthology which includes a number of important essays otherwise hard or impossible to find in English.

Since its publication in 1979, Critics of Henry George has achieved an international reputation as by far the most comprehensive review and analysis of the objections leveled against Henry George's American classic, Progress and Poverty. George's 19th century classic argument for land reform produced an army of critics including Alfred Marshall, J. B. Clark, F. A. Walker and in the 20th century, Edwin Cannan, Murray Rothbard and Mark Blaug. In recent years Georgist insights have been gaining ground in economics on a variety of fronts especially in the areas of the economics of location and public finance. Now, more than a century after George and 25 years after the first edition of the Critics of Henry George, the Critics has been expanded, revised and enlarged by Dr. Robert Andelson. The Andelson revision will include a revised last chapter evaluating Georgism as it was interpreted by its critics.