By M. A. R. Habib
This accomplished advisor to the heritage of literary feedback from antiquity to the current day presents an authoritative assessment of the foremost routine, figures, and texts of literary feedback, in addition to surveying their cultural, historic, and philosophical contexts.
offers the cultural, historic and philosophical historical past to the literary feedback of every era
allows scholars to work out the advance of literary feedback in context
Organised chronologically, from classical literary feedback via to deconstruction
Considers quite a lot 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: From Plato to the Present.
Before Socrates offers his own account of justice he is made to hear a number of other, more popular, definitions. In characteristic dialectical strain, the Socratic version is cumulatively articulated as a refutation of those popular assessments, finding its very premises within their negation. Hence what is at stake is not simply an impartial pursuit of the meaning of justice argued directly from first principles, but rather a power struggle, where the historical claims to authority of philosophy and poetry clash.
The ground has now been prepared for the emerging hegemony of philosophy. Poetry, concludes Adeimantus, teaches young men that appearance “masters” reality and that seeming just is more profitable than being just. It is this pursuit of a phantom, this honoring of dissemblance, which has led to social corruption whose symptoms include the organization of secret societies, political clubs, and the sophistic teaching of “cajolery” whereby the “arts of the popular assembly and the courtroom” are imparted (365a–e).
1 Since the men are facing the wall of the cave with their backs to the opening, they can see only shadows, cast by the fire on that wall, of the people and objects which are passing behind them. When these people speak, they will hear the echo from the wall, imagining the passing shadows to be the speakers. Plato’s point is that people who have known only these shadows will take them for realities: if they were forced to stand up and turn around, they would, at first dazzled by the light coming into the entrance of the cave, be unable to see the objects whose shadows they had previously seen.
A History of Literary Criticism: From Plato to the Present. by M. A. R. Habib