Download A history of literary criticism and theory : from Plato to by M. A. R. Habib PDF

By M. A. R. Habib

This accomplished advisor to the historical past of literary feedback from antiquity to the current day offers an authoritative assessment of the key activities, figures, and texts of literary feedback, in addition to surveying their cultural, historic, and philosophical contexts.

  • Supplies the cultural, historic and philosophical heritage to the literary feedback of every era
  • Enables scholars to determine the improvement of literary feedback in context
  • Organised 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 used along any anthology of literary feedback or as a coherent stand-alone introduction

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Extra resources for A history of literary criticism and theory : from Plato to the present

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Secondly, what facilitates Plato’s politically slanted definitions is his earlier parallelism between the individual and state. His aesthetics emerged as politically motivated in 29 HOLC01b 29 06/27/2005, 10:50 AM part i: ancient greek criticism the sense that they are determined by what the guardians should believe concerning men and gods, and the character as individuals toward which they must aspire. The definitions of the virtues of an individual as cited above comprise variously refracted facets of the same basic ethical model: the control and domination of the “multitude” by a unity.

The connection between the two realms can best be illustrated using examples from geometry: any triangle or square that we construct using physical instruments is bound to be imperfect. At most it can merely approximate the ideal triangle which is perfect and which is perceived not by the senses but by reason: the ideal triangle is not a physical object but a concept, an idea, a Form. According to Plato, the world of Forms, being changeless and eternal, alone constitutes reality. It is the world of essences, unity, and universality, whereas the physical world is characterized by perpetual change and decay, mere existence (as opposed to essence), multiplicity and particularity.

That poetry impinges indiscriminately on all areas of production and knowledge means that by definition it pervades all strata of the hierarchy, which it thereby undermines as a whole. It literally does not know its place and it can never be clear in relation to which activity or discipline it can be subordinated or superordinated. It spreads its influence limitlessly, dissolving social relations as it pleases and recreating them from its own store of inspired wisdom whose opacity to reason renders it resistant to classification and definition.

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