Titlebook: Criticism after Critique; Aesthetics, Literatu Jeffrey R. Leo (Professor of English and philosoph Book 2014 Jeffrey R. Di Leo 2014 aestheti

競選運(yùn)動

煩擾

Afterwordstence a problem for critique, as of those for whom, like Christian Moraru, critique remains a present horizon. Saying as much, I do not mean to be conciliatory. David R. Shumway does not speak for everyone when claiming that “the fundamental conflict between the text as object of critique and the t

積習(xí)難改

Overview: Presenting different ways to imagine criticism without critique, this collection provides a survey of both the difficult times facing ideological critique and the ways in which literary criticism and aesthetics have been affected by changing attitudes toward critique.978-1-349-49157-5978-1-137-42877-6

過分自信

Die Metaphysik der Geisteswissenschaften,c interpretations began to seriously compete with older, more traditional ways of reading, like the New Criticism and influence studies—not just for credibility among academics but also for limited institutional space—critique has become the modus operandi of the humanities. Those who dare to question it, do so at their own peril.

放棄

If so—and on this ground—is critique also perhaps outmoded, on history’s proverbial ash heap? Further, if we answer with another “yes,” the last and, to me, most timely question then is, Can one still be critical—of literature, of the world, and of ourselves—. critique, in an aftermath undeniably fashioned . . by accelerating globalization?

獨(dú)輪車

Book 2014Presenting different ways to imagine criticism without critique, this collection provides a survey of both the difficult times facing ideological critique and the ways in which literary criticism and aesthetics have been affected by changing attitudes toward critique.

Commission

https://doi.org/10.1057/9781137428776aesthetics; critique; literary criticism

使饑餓

correspondent

Introductionc interpretations began to seriously compete with older, more traditional ways of reading, like the New Criticism and influence studies—not just for credibility among academics but also for limited institutional space—critique has become the modus operandi of the humanities. Those who dare to question it, do so at their own peril.

Trigger-Point

Critique and Its Postnational Aftermath If so—and on this ground—is critique also perhaps outmoded, on history’s proverbial ash heap? Further, if we answer with another “yes,” the last and, to me, most timely question then is, Can one still be critical—of literature, of the world, and of ourselves—. critique, in an aftermath undeniably fashioned . . by accelerating globalization?