February 10, 2018

M. A. R. Habib's A History of Literary Criticism and Theory: From Plato to PDF

By M. A. R. Habib

ISBN-10: 0631232001

ISBN-13: 9780631232001

This finished consultant to the background of literary feedback from antiquity to the current day presents an authoritative evaluate of the most important hobbies, figures, and texts of literary feedback, in addition to surveying their cultural, old, and philosophical contexts.Supplies the cultural, old and philosophical history to the literary feedback of every period allows scholars to work out the improvement of literary feedback in contextOrganised 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 creation

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Read e-book online A History of Literary Criticism and Theory: From Plato to PDF

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Extra resources for A History of Literary Criticism and Theory: From Plato to the Present

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Plato’s terminology here is revealing: such a guardian would be “the most perfect and harmonious musician” (III, 410c–412a). 27 HOLC01b 27 06/27/2005, 10:50 AM part i: ancient greek criticism This terminology enables us better to understand just how Plato conceives of poetry as an ideologically destabilizing force. The harmony in the soul of the guardian is not innate; it is achieved only by long training and ideological inculcation. In describing such a guardian as a musician, in arrogating to this class of society the governance of music, in appropriating from poets themselves jurisdiction over their art, Plato is once again marking out music as the arena of ideological conflict between poetry and philosophy.

347 bc ) systematically in the Phaedo and the Republic, can be summarized as follows. The familiar world of objects which surrounds us, and which we apprehend by our senses, is not independent and self-sufficient. Indeed, it is not the real world (even though the objects in it exist) because it is dependent upon another world, the realm of pure Forms or ideas, which can be apprehended only by reason and not by our bodily senseperceptions. What is the connection between the two realms? Plato says that the qualities of any object in the physical world are derived from the ideal Forms of those qualities.

In Socrates’ understanding, there are basically two components of the rhapsodist’s art: learning the lines of a given poet must be backed by understanding of his thought (Ion, 530b–c). Most of Socrates’ argument concerning rhapsody addresses its interpretative, critical function rather than its musical and emotional power. Throughout the ostensible “dialogue,” Ion acts as the willing and naive tool of Socrates’ own perspective, unwittingly dragged through the implications of his own initial boast that he “of all men .

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A History of Literary Criticism and Theory: From Plato to the Present by M. A. R. Habib


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