By Catherine Belsey
A destiny for Criticism considers why fiction offers rather a lot excitement, and the overlook of this factor in contemporary criticism.
- Offers a quick, vigorous, and obtainable account of a brand new course for severe perform, from one among Britain's so much widespread literary theorists and critics
- Proposes a brand new course for destiny feedback, extra open to reflecting at the pleasures of fiction
- Written in a transparent, jargon-free sort, and illustrated all through with quite a few examples
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Extra resources for A Future for Criticism
Indd 21 11/26/2010 7:06:31 AM Piety Classic defences In this case, as elsewhere, the specific interpretation recapitulated the general anxiety that fiction was altogether too enjoyable to deserve serious attention. To judge from the history of criticism, such assaults were a regular occurrence and writers have regularly appealed to the virtue of literature when parrying moral severity. In the early 1580s Sir Philip Sidney mounted what he called ‘a pitiful defence of poor Poetry’,4 by which he made clear in the course of the work that he meant fiction in general.
Law prohibits; it forbids. In fiction, by contrast, it is possible, at least in principle, to say everything and anything, to break rules and evade prohibitions. 19 Perhaps surprisingly, Matthew Arnold, who wanted culture to fend off anarchy, would have gone some way, even so, to meet Derrida in this respect. 21 Piety defines in advance the rules of conduct and thought; conformity closes off the new thinking society will always need if criticism is to fulfil its high purposes. What is the relationship between the culture and anarchy of Arnold’s title, or between culture and the resistance to rule?
This counterfeit vegetation represented unnatural sterility and a denial of life, Lewis insisted. indd 21 11/26/2010 7:06:31 AM Piety Classic defences In this case, as elsewhere, the specific interpretation recapitulated the general anxiety that fiction was altogether too enjoyable to deserve serious attention. To judge from the history of criticism, such assaults were a regular occurrence and writers have regularly appealed to the virtue of literature when parrying moral severity. In the early 1580s Sir Philip Sidney mounted what he called ‘a pitiful defence of poor Poetry’,4 by which he made clear in the course of the work that he meant fiction in general.