Kirjahaku

What is critical theory, and to what extent can it claim to exist as a free-standing entity independent of the object of enquiry? Is the much-discussed gulf between Anglo-Saxon empiricism and Continental post-structuralism more apparent than real? In The Myth of Theory William Righter explores the nature of thinking about literature and the assumed polarities between the abstract reasonings of philosophy and the concrete exploratory manoeuvres of critical practice. He goes on to examine the role of theory in critical observation, through extended case studies of the work of critics including Barthes. Bloom, Poulet, Eliot, Empson, Kristeva and Derrida. His underlying argument is that criticism uses theory but is never effectively directed or controlled by it: the inherent radicalism built into critical practice fragments and transforms general concepts in the act of applying them.

What is critical theory, and to what extent can it claim to exist as a free-standing entity independent of the object of enquiry? Is the much-discussed gulf between Anglo-Saxon empiricism and Continental post-structuralism more apparent than real? In The Myth of Theory William Righter explores the nature of thinking about literature and the assumed polarities between the abstract reasonings of philosophy and the concrete exploratory manoeuvres of critical practice. He goes on to examine the role of theory in critical observation, through extended case studies of the work of critics including Barthes. Bloom, Poulet, Eliot, Empson, Kristeva and Derrida. His underlying argument is that criticism uses theory but is never effectively directed or controlled by it: the inherent radicalism built into critical practice fragments and transforms general concepts in the act of applying them.

American Memory in Henry James is about the cultural, historical and moral dislocations at the heart of Henry James' explorations of American identity - between power and love; modernity and history; indeterminate social forms and enduring personal values. The text covers the power, and the limits, of the language of morality and interpretive imagination as James grapples with what America and Europe have in common; and also with what, because their contexts and sense of history are so profoundly different, they cannot have in common. Righter's great theme is the tensions that impelled James ultimately to stretch the novel, his beloved 'prodigious form', almost to breaking point, in search of an ultimately elusive synthesis. The American Scene - his account of an America, revisited after long absence, that was reinventing itself right down to the touchstones of its identity - is its entry point; The Golden Bowl is its primary testing ground. The questions raised transcend the historical moment and the specifically Jamesian sense of dislocation, to go to the heart of modern identity, and the nature of literary endeavour.

First published in 1975, Myth and Literature considers three points at which the concept of myth has entered modern literary imagination: the use of myth – or atleast their understanding of myth -- as a creative opening by modern writers, its exploration by critics as an interpretive device, and the analogy between certain ‘sense-making’ functions of ‘myth’, ‘fiction’ and literature itself. All three of these roles show the gradual movement from a point of precise demand to a diffuse and variable concept which is more pervasive because less distinct. The paradox of myth is shown to lie in its simultaneity of its corruption with the growth of its power over the modern literary mind. This book will be of interest to students of literature and history.

First published in 1975, Myth and Literature considers three points at which the concept of myth has entered modern literary imagination: the use of myth – or atleast their understanding of myth -- as a creative opening by modern writers, its exploration by critics as an interpretive device, and the analogy between certain ‘sense-making’ functions of ‘myth’, ‘fiction’ and literature itself. All three of these roles show the gradual movement from a point of precise demand to a diffuse and variable concept which is more pervasive because less distinct. The paradox of myth is shown to lie in its simultaneity of its corruption with the growth of its power over the modern literary mind. This book will be of interest to students of literature and history.

First Published in 1963, Logic and Criticism makes one of the rare attempts since that of I.A. Richard’s Principles of Literary Criticism to examine the problems of criticism in the light of recent philosophical developments. The character of critical language and argument, the problem of judgement, the relevance or irrelevance of moral criteria, are considered in detail through examples drawn from the most important modern critics. Above all the work is concerned with the question of how logical or illogical an activity criticism is, and the conclusions drawn have great relevance to current critical discussion. This is a must read for scholars and researchers of philosophy and literature.

First Published in 1963, Logic and Criticism makes one of the rare attempts since that of I.A. Richard’s Principles of Literary Criticism to examine the problems of criticism in the light of recent philosophical developments. The character of critical language and argument, the problem of judgement, the relevance or irrelevance of moral criteria, are considered in detail through examples drawn from the most important modern critics. Above all the work is concerned with the question of how logical or illogical an activity criticism is, and the conclusions drawn have great relevance to current critical discussion. This is a must read for scholars and researchers of philosophy and literature.