By M. A. R. Habib
This entire advisor to the historical past of literary feedback from antiquity to the current day presents an authoritative evaluation of the main activities, figures, and texts of literary feedback, in addition to surveying their cultural, historic, and philosophical contexts.Supplies the cultural, old and philosophical history to the literary feedback of every period allows scholars to determine the improvement of literary feedback in contextOrganised chronologically, from classical literary feedback via to deconstruction Considers a variety of thinkers and occasions from the French Revolution to Freud’s perspectives on civilization can be utilized along any anthology of literary feedback or as a coherent stand-alone advent
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Extra resources for A History of Literary Criticism and Theory: From Plato to the Present
Plato’s terminology here is revealing: such a guardian would be “the most perfect and harmonious musician” (III, 410c–412a). 27 HOLC01b 27 06/27/2005, 10:50 AM part i: ancient greek criticism This terminology enables us better to understand just how Plato conceives of poetry as an ideologically destabilizing force. The harmony in the soul of the guardian is not innate; it is achieved only by long training and ideological inculcation. In describing such a guardian as a musician, in arrogating to this class of society the governance of music, in appropriating from poets themselves jurisdiction over their art, Plato is once again marking out music as the arena of ideological conflict between poetry and philosophy.
While this claim may be exaggerated, it rightly suggests that Plato gave initial formulation to the most basic questions and problems of Western thought: How can we define goodness and virtue? How do we arrive at truth and knowledge? What is the connection between soul and body? What is the ideal political state? Of what use are literature and the arts? Plato’s answers to these questions are still disputed; yet the questions themselves have endured, often in the forms and contexts posed by Plato.
Should the poet attempt to extend or alter the assessment of beauty, this becomes in Plato’s eyes a falsification of the nature or essence of this Form. ” The object itself cannot be so studied and is thereby reduced to purely referential status, pointing beyond itself to the Form of which it is merely the superfluously unique material realization. This is not the interconnected system of references in terms of which many modern theorists, from Saussure to Derrida, have viewed language. In Plato, the referentiality is directed only one way: from the material object, which alone is reduced to a referential status, to the self-subsisting Form.