By Nicholas Boyle, Andrew Bennett
Clean, unique and compelling, An advent to Literature, feedback and conception is the fundamental consultant to literary studies.
Starting at ‘the beginning’ and concluding with ‘the end’, the ebook covers themes that diversity from the regularly occurring (character, narrative, the writer) to the more odd (secrets, excitement, ghosts). Eschewing summary isms, Bennett and Royle effectively light up complicated rules by way of enticing at once with literary works – in order that a studying of Jane Eyre opens up methods of pondering racial distinction, while Chaucer, Raymond Chandler and Monty Python are all invoked in a dialogue of literary laughter.
Each bankruptcy ends with a story advisor to additional interpreting and the booklet additionally incorporates a thesaurus and bibliography. The fourth version has been revised to include well timed new chapters on animals and the environment.
A breath of clean air in a box that could frequently appear dry and dauntingly theoretical, this ebook will open the reader’s eyes to the exhilarating probabilities of either studying and learning literature.
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Extra resources for An Introduction to Literature, Criticism and Theory (4th Edition)
During his performances, he would often scream himself into a trance-like state, with or without the help of drugs. One person present at a performance in 1962 described this process in detail: He coils up on the table, says in a disgusting way aaah to the unlucky artist in front of the table . , carries out daredevil feats, while he is anxiously supported by the helping hands of his followers; . . in between there are some carefully memorized refrains, which do contain some beautifully recited phrases, and sometimes very erotic and anti-erotic exclamations too.
The embrace of insincerity is an important strategy for Van Doorn. He makes use of it in his poetics as well. His comments on his work and his literary opinions are often contradictory and it is nearly impossible to pin him down on a statement. In an interview, for example, he stated: “You could say that my work is pervaded with a latently present moralistic spirit . . I really do propagate a message. ” Two years later, he seemed to have changed his mind: “Protest. Disgusting. I am not doing anything, really.
It sheds new light on the critical deadlock between Dutch literary criticism and performance poetry which has been in place since the sixties, because it demonstrates that performers like Van Doorn reveal and enact a specific cultural politics. Unlike Vaessens’s suggestion cited above, they do enter into discussion with literary traditions. They appropriate those traditions that are generally appreciated and draw attention to those forms of art which cannot be appreciated by literary critics, due to the limits of their mode of criticism.