Titlebook: Debating the Canon; A Reader from Addiso Lee Morrissey Book 2005 Palgrave Macmillan, a division of Nature America Inc. 2005 creativity.dram

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,Ziele und Grunds?tze des UNDP, by traducing that which alone could help him, if it did not strike a pose of helping him. But any literature which therefore concludes that it can be a law unto itself, and exist only for itself, degenerates into ideology no less. Art, which even in its opposition to society remains a part of it, m

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https://doi.org/10.1007/978-3-0348-5666-9 itself, as though “it could be read, understood, and criticized entirely in its own terms,”. Harold Bloom has proposed a dialectical theory of influence between poets and poets, as well as between poems and poems which, in essence, does away with the static notion of a fixed or knowable text. As he

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Schmetterlingsfarmen auf Irian Jayaiterary field. requires and enables us to make a radical break with the substantialist mode of thought (as Ernst Cassirer calls it) which tends to foreground the individual, or the visible interactions between individuals, at the expense of the structural relations—invisible, or visible only through

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Naturschutz in einem Himalaya-K?nigreichid to receive there an adequate education in the culture and civilization of which they are members. Most of our college graduates remain shortchanged in the humanities—history, literature, philosophy, and the ideals and practices of the past that have shaped the society they enter. The fault lies p

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https://doi.org/10.1007/978-3-658-18396-7e problem reveals itself easily in the questions it encompasses: What is great literature? How do we know when a book is a “classic”? What works comprise the literary canon and what principles inform the selection of texts? Who decides and by what means? The answers to these questions are, in theory

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