Book Description
The major works of Emerson's most productive period in their entirety: "Nature: Addresses and Lectures," "Essays: First and Second Series," "Representative Men," "English Traits," and "The Conduct of Life."
Customer Reviews:
The philosopher of America.......2006-12-06
It is wonderful to have all of Emerson's essays in one volume. Like his great pupil and friend Thoreau , Emerson is a poetic thinker of the highest order. His essays are filled with aphoristic gems . They contain not simply thoughts on different subjects but an organic and coherent way of seeing and understanding the world. They are the work of a genuine American philosophical voice.
There is so much to read here that it is difficult to know where to begin, though I have an especial feeling for 'Representative Men' with its exaltation of great individual human beings .Because he is so poetic and because his writing is so dense with meaning it does not always make for easy reading. But it is firm in principle and great in suggestiveness.
The way to understand where Whitman and in a sense even William James are coming from is to read this work.
Powerful and stirring prose that still ring in the American spirit.......2006-10-26
I cannot think of another writer whose prose reads with as much poetic power as Emerson. The poetic aspect comes from the richness of meaning that continue to manifest as one lingers and thinks about the words Emerson writes rather than anything contrived or artsy. He created many powerful sentences and phrases that still live in the American spirit, and yet, for all the ringing words we love and hold close there are many thoughts and arguments that many people, including myself, find difficult to accept on any level other than being by Emerson.
For all that we love in Self-Reliance and The American Scholar, we still have to deal with his mystic essay on the Over-soul. Many conservative Christians have problems with his Transcendentalist views of religion and Christ. Reading his thoughts on "The Lord's Supper" might be interesting simply because it is Emerson. However, most orthodox believers will not come close to being convinced and today's non-believers will find it difficult to work up the energy to try and figure out what the fuss is about.
His famous essays collected under the title of Nature are fascinating and poetic views of the natural world. At least they seem that way to our more technical age. We see his Enlightenment confidence in reason and man's ability to discover the mechanisms of the Universe. While our science is remains rational, it is not quite so confident that everything can be easily discovered. We have found that for every depth we sound we discover that the bottom is only apparent. Things are deeper and stranger than the thinkers of Emerson's time ever dreamed.
This volume collects his essays and lectures into more than 1,100 pages of fascinating and wonderful reading. His poems and translations are collected into a separate volume also offered through the wonderful Library of America (don't hesitate to support them). The volume opens with a collection called "Nature; Addresses, and Lectures" and contains the eight chapters of Nature plus the four addresses The American Scholar, An Address to the Senior Class of Divinity College from 1838, Literary Ethics, and The Method of Nature. It also has five lectures: Man the Reformer, Introductory Lecture on the Times, The Conservative, The Transcendentalist, and The Young American.
There are then two collections of essays that contain famous titles such as History, Self-Reliance, The Over-Soul, The Poet, Manners, and Nature [yeah, I know it can get confusing]. This is followed by a collection called Representative Men. The seven chapters here are wonderful, but I cannot imagine anything like them being written today. The first chapter is titled "Uses of Great Men". I think I can here the deconstructionists swallowing their tongues. Then follows a chapter each for Plato the Philosopher, Swedenborg the Mystic [millions ask, WHO?], Montaigne the Skeptic, Shakespeare the poet, Napoleon the Man of the World, and Goethe the Writer.
The last two collections contain a number of short papers on English Traits and The Conduct of life. All interesting and full of Emersonian insight and beauty of language. The volume concludes with a Chronology of Emerson's life, notes on the texts, other notes, and an alphabetical index of titles (which is particularly useful given the re-use and similarity of some of these titles).
A Life Companion.......2006-09-01
I think it is probably safe to assert that to read Emerson is to be forever indebted to him. His wording, his clearness of thought, his determination, his warmth... He has all the qualities one could ask for in a writer, and all one could ask for in a mentor. Nietzsche held Emerson's books the closest, and said they were above his praise; Borges added: "Whitman and Poe have overshadowed Emerson's glory, as inventors, as founders of cults; line by line, they are inferior to him." James, the very Whitman, Proust, Frost, have all also praised him sincerely. Judging from other reviews, the love for Emerson hasn't diminished, more than a century after his passing.
For those who are not familiar with his works, it should be noted that Emerson is, without a doubt, a very unique writer. I was surprised when I realized that there is more poetry in his philosophy than in most verse books, yet he is always lucid; and that his poems, although hued by an impressive depth of thought, remain always passionate. He was renown as a brilliant lecturer, and his essays have all the force and immediacy of the oral form. Few people are so rich in memorable aphorisms - one finds a treasure of a quote in every sentence: "A drop is a small ocean"; "We are not built like a ship to be tossed, but like a house to stand"; "Whoso be a man, must be a non conformist"; "Punishment is a fruit that unsuspected ripens within the pleasure which concealed it"...
This was one of the first books the Library of America ever published, and with good reason: Emerson's writings are a Library of America on their own. This volume contains most of his major works, with the usual LOA excellency: beautiful green-cloth binding, a silk-ribbon marker, clear, acid-free, bible-thin paper, a short chronology, and a few useful notes. (No introduction of any kind, also as usual.) In short: a must buy, whether you are new to Emerson or not. My only complain is that this represents only about a half of his actual output, leaving out such important pieces as "The Lord's Supper", "The Fugitive Slave Law", the books Society and Solitude and Letters and Social Aims, his writings on Thoreau, Carlyle, Lincoln, and John Brown, and many other pieces just as revealing as the ones included here - not even counting the 15 volumes worth of journals he wrote throughout his life.
The fact that it's been more than a decade since the publication of the slight Complete Poems and Translations makes me fear LOA has neglected one of America's most beloved authors by giving priority to comparatively minor releases -like those on journalism and film criticism. Why can't Emerson get the same deserved treatment as Henry James, who by the way has now over 12 well-earned LOA volumes published? Just one more book would make this the definite edition of RWE's works; as it is, the huge and expensive Centenary Edition remains untouched as the most comprehensive one available. Furthermore, the "Uncollected Prose" section is no longer included; I can only hope it means they are saving it for a future volume. (It's been 15 years since they took it out, so I'm not holding my breath.)
Those looking for a cheaper introduction should probably check out the excellent Modern Library's The Essential Writings of Ralph Waldo Emerson, which besides a very generous collection of essays has a nice introduction, a selection of poems, and a few important pieces not included here.
To put it simply, if you have any interest in philosophy, literature, poetry, religion, or life, read Emerson. You may not be convinced by his arguments, but there's no point in nodding your way through a book. What remains after you finish reading it is what counts, and few writers can be found whose works are as pervasive and fondly remembered as Emerson's are.
Brilliant.......2006-02-26
Ralph Waldo Emerson was and is by far one of the most brilliant writers of American Literature. His writings are his collection of thoughts...both wise, and complicated. As if he is writing his deep most private thoughts into a diary meant to be read. You read his essays and lectures, and just feel as if you have just been exposed to something different in your life.
However, don't just take my word for it. After all, I am only sixteen years old. But this book is brilliant.
A genius who also had a conscience!.......2006-01-23
Ralph Waldo Emerson is considered by many to be one of America's greatest essayists. He also wrote poetry and the words in these essays read like poetry. It is hard to believe that that these essays were compiled and written down in the mid 1840's. The message that each one delivers is as fresh and real today as it was when Emerson said the words initially. We must remember that Emerson was very much a man of his time. His America was ready for an emphasis on individualism, and that is what he promotes in this essays. That may be why these messages have endured for so long. I found some very profound thoughts written in these essays, and the one that I think that I identified with the most were his essays on Art and on Character. I found myself nodding my head numerous times as I read these beautiful words. I certainly recommend that thee essays be read; if for no other reason than for the very beautiful usage of words.
Book Description
A Preface to Paradise Lost provides an interpretation of Milton's purpose in writing the epic.
Customer Reviews:
Essential Lewis, Essential Criticism.......2007-03-09
While other reviewers have already touched on many key tenets of this fabulous little book, I may be able to enumerate or elaborate a little yet.
The real stuff of this book you must read for yourself, but I can at least adumbrate some general ideas he touches on.
1) A short, lucid, and highly informative introduction to epic _qua_ epic. Style, content, form, all the essentials. What makes Homer Homer: what it means. Where Virgil deviated: why it matters. Where Milton deviates: why it matters. &c.
2) Lovely interaction with contemporary "New Criticism." I. A. Richards meets the classical scholar (Chapter VIII).
3) Quintessential societal and philosophical criticism peppered _throughout_. You wouldn't think you'd be able to quote Lewis on the fatuousness of certain "sacred cow" tenets of "progressive modernity" in a book on Milton, but it's here--and moreover, each little epigrammatic jab is perfectly felicitous and apposite. Only Clive! Each one yields great laughter and reflection.
4) Some _excellent_ and _original_ universal literary criticism. It is my opinion that many excerpts of this book should be included in Literary Theory anthologies. He treats such overarching topics as reading, poetry _qua_ poetry, criticism _qua_ criticism, authorial intent, &c. &c.
5) His criticism of Milton's Satan is pretty much the coolest thing you'll ever read. I'll leave it at that: you must read it for yourself! I've read the chapter on Satan four times it's so good.
That's enough for now. Buy and read!
A Masterful Essay on Paradise Lost.......2006-11-11
There are many approaches to criticism of Paradise Lost. None is more in the spirit of the poem as Milton wrote and intended than C. S. Lewis's Preface. Lewis's spirit is in harmony with Milton's and his Preface is a masterful explication of the greatest poem ever written. It is a delight to read and, as Lewis wished, urges one on to read the poem itself, with greater understanding.
A classic of Milton criticism but..........2006-10-20
This work is considered a classic of Milton criticism. I began the book with great expectations and must admit to being somewhat disappointed. Lewis sets out defining the 'epic' as genre, and explaining why Milton chose this form. He also traces the history of the Epic giving special emphasis on the turning point in the form made by the 'Aeneid'.He also outlines the stylistic peculiarities of Milton which helped give shape to his Epic. The latter part of the book is a discussion of the Themes of 'Paradise Loss' and considers among other things, the relation of Milton's work to the thought of Augustine, the role of Satan in the work, that of Adam and Eve. Lewis tends to the view that the Arian Milton did not attempt to force his own religious views on the Poem, but rather was concerned with the Poem's achieving its artistic and moral end.
There is an important chapter on 'Heirarchy' which shows how for Milton as for Shakespeare this is a key conception in their worlds. Lewis is a chamption of Milton's discipline, and shows how his stylistic brilliance created a continuous motion and form for the poem. The great Miltonian sentence in all its complexities is central here.
There is much to learn from this work about Milton, and also about Lewis.
I find that it did not however provide the kind of overall picture of the meaning of the Poem that I certainly thought it would.
a central brick in milton criticism.......2005-11-05
As a man who spent the entirety of his childhood avoiding the repeatedly assigned Lion the Witch and the Wardrobe (i got very good at making my tests look like i'd read it, as im sure many grade school students do when its assigned year after year, i think we even did it in high school), i always associated Lweis' name with BAD. And then i discovered Milton, and his Satan, and Lewis re-entered the picture.
His preface to Paradise Lost is largely a defense, mostly against the attacks of contemporary and irreverant poets like Pound and Eliot who criticized Milton extensively, especially for his Latinate syntax. Lewis engages Eliot specifically in one chapter that reads like a very wordy rap beef. If you ask me, Eliot, certainly the better poet, is out of his element in the crit ring, and Lewis smokes him good, at times you might shout "OHHHHHHHHHHHH"
Far as his approach to the poem, he lays out the foundation for a modern understanding of Milton, namely a reverence for ritual and heritage, and an appreciation of epic and narrative poetry. His chapters on Homer Virgil and Beowulf are valuable and enjoyable reads worth the price of admission themselves. His criticism is highly intelligent but never overwhelming or tangential, it is systematic and thorough while still retaining a smooth readability. Easily one of the most valuable studies of Milton to come out of the 20th century.
A Lucid Mind Extended by an Enchanting Pen.......2005-07-06
C.S. Lewis had one great advantage for truly comprehending Milton's "Paradise Lost": he shared Milton's Christianity. It seems that many modern non-Christian critics of Milton impose concepts on the text which would have been foreign to Milton. Lewis, in contrast, belonged in his whole mindset (according to his own admission) much more to bygone ages than to the twentieth century. Thus he was able to understand bygone poets more than most people today.
Added to this advantage is of course Lewis's gift of having a lucid mind extended by an enchanting pen. His writings, including his academic ones, bristle with a liveliness lacking in most academic circles. "A Preface to Paradise Lost" is no exception in this regard.
As for the content of the "Preface," Lewis first spends eight chapters describing and defending the style of Epic Poetry, to which "Paradise Lost" belongs. He distinguishes between Primary and Secondary Epic and draws parallels to the Roman poet Virgil. The remaining eleven chapters are used to discuss the theological concepts in "Paradise Lost," making particular note of St. Augustine's influence on Milton.
The bottom line of the book is that Milton's poem, more than anything else, embodies concepts found in the Bible and the teachings of the Church, and that the supposed "revolutionary" concepts in Milton have largely been forced upon the text by later critics.
My own experience of reading Milton, for what it is worth, agrees with this view. I studied the Bible and church history quite extensively BEFORE I picked up "Paradise Lost," and I was surprised to find how very unoriginal the poem was in its portrayed concepts (which does not mean that it is a bad poem); almost everything in Milton has its source either in the Bible or in Christian traditions and teachings.
Edward Wagenknecht from "The New York Times" was right to say that in the "Preface," C.S. Lewis's "most valiant service is to protect us against the many students of Milton who have not been able to see the woods for the trees" (taken from the back cover of the book).
A superb academic work - not only for academic readers.
Book Description
We tend to suppose that the ancient Greeks had primitive ideas of the self, of responsibility, freedom, and shame, and that now humanity has advanced from these to a more refined moral consciousness. Bernard Williams's original and radical book questions this picture of Western history. While we are in many ways different from the Greeks, Williams claims that the differences are not to be traced to a shift in these basic conceptions of ethical life. We are more like the ancients than we are prepared to acknowledge, and only when this is understood can we properly grasp our most important differences from them, such as our rejection of slavery.
The author is a philosopher, but much of his book is directed to writers such as Homer and the tragedians, whom he discusses as poets and not just as materials for philosophy. At the center of his study is the question of how we can understand Greek tragedy at all, when its world is so far from ours.
Williams explains how it is that when the ancients speak, they do not merely tell us about themselves, but about ourselves. Shame and Necessity gives a new account of our relations to the Greeks, and helps us to see what ethical ideas we need in order to live in the modern world.
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Commerce with the Classics: Ancient Books and Renaissance Readers (Thomas Spencer Jerome Lectures)
Anthony Grafton
Manufacturer: University of Michigan Press
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What was History?: The Art of History in Early Modern Europe
ASIN: 0472106260 |
Book Description
The style of reading in Renaissance Europe, as seen in the margins of books and in the texts of Renaissance intellectuals themselves, is deftly charted in this welcome volume from Anthony Grafton. Growing out of the Thomas Spencer Jerome Lectures that Anthony Grafton gave at the University of Michigan in 1992, this book describes the interaction between books and readers in the Renaissance, as seen in four major case studies.
Humanists Alberti, Pico, Budé, and Kepler, all major figures of their time and now major figures in intellectual history, are examined in the light of their distinctive ways of reading. Investigating a period of two centuries, Grafton vividly portrays the ways in which book/scholar interactions--and the established traditions that were reflected in these interactions--were part of and helped shape the subjects' Humanistic philosophy. The book also indicates how these traditions have implications for the modern literary scene.
Commerce with the Classics: Ancient Books and Renaissance Readers illustrates the immense variety of the humanist readers of the Renaissance. Grafton describes life in the Renaissance library, how the act of reading was shaped by the physical environment, and various styles of reading during the time. A strong sense of what skilled reading was like in the past is built up through anecdotes, philological analysis, and documents from a wide variety of sources, many of them unpublished.
This volume will be of special interest to Renaissance and intellectual historians, students of Renaissance literature, and classicists who concern themselves with the afterlife of their texts.
Anthony Grafton is Dodge Professor of History, Princeton University.
Amazon.com
Richard Hugo's The Triggering Town, originally published in 1979, remains one of the freshest and most refreshing treatises on the writing of poetry. While you won't find formality or nicety here, Hugo has the unusual quality of being highly opinionated and yet not at all convinced that what works for him will work for you. Hugo doesn't believe that he can teach you how to write; he believes he can teach you how he writes, and by doing so, teach you "how to teach yourself how to write." And while most writing instructors claim that one can't be a good writer without being a good reader, Hugo claims "that one learns to write only by writing." Hugo's essays are strong-willed and funny and by turns full of bluster and cloaked in modesty. While "a good teacher can save a young poet years by simply telling him things he need not waste time on, like trying to will originality or trying to share an experience in language or trying to remain true to the facts," he writes, "ultimately the most important things a poet will learn about writing are from himself in the process." Above all, Hugo stresses that creative writing is creative because it is a creative act: "if one is writing the way one should, one does not know what will be on the page until it is there." So, he warns, "If you want to communicate, use the telephone." And "Think small.... If you can't think small, try philosophy or social criticism."
Customer Reviews:
Place and Memory.......2007-05-19
I can say one certain thing about the book. It makes me want to write. I woke up early the following morning after reading it until three a.m. and wrote a new poem. The book has so many interesting themes I could not comment on them all in this small space, but I will say it talks profoundly about Place and Memory. The book falls into my personal list of best books on the craft of writing.
Best book on writing I've ever read.......2006-12-16
And that's saying quite a bit, as I've read more than a few. I also like Ted Kooser's Poetry Home Repair Manual, so if you like that I'm pretty sure you'll like The Triggering Town.
I think what I like best (so far - I'm not quite done) from Hugo is his concept of writing "off the subject" - as a poet it just seems to make so much sense to me.
I've already ordered several other copies of this book to give as presents to folks in the graduate program here at UT.
Teh Triggering Town: Lectures and Essays on Poetry and Writing.......2006-11-05
Poet and college professor Richard Hugo, a one time student of Theodore Roethke, offers practical advice for any writer in this short book of essays and commentaries. His wit and wisdom, garnered through years of teaching, are like finding diamonds on every page. This has proven to be a priceless book for me. Especially compelling to me was Ci Vediamo, stories about his time in Italy and a subsequent visit many years later. This is some of the finest writing I have every had the joy of reading The downside is that he died in 1982 and there will never be more writing like this.
Beautiful writing, great instuction, but maybe too hard to forget.......2005-08-13
Hugo is a delight to read in the way C.S. Lewis is: he is endearing, humble, and gentle--a man of style, grace, and quick wit--while remaining tough, straightforward, and confident. Even if you don't pay attention to what Hugo is saying, the way he says it could carry you though the book enjoyably.
Hugo's intent in assembling this book of lectures and essays is to teach and instruct hopeful poets, and for him the soul of poetry pedagogy is basically (and simply) to save students time, to show them what they would eventually teach themselves if they continued writing on their own.
The danger in "The Triggering Town" is that Hugo is at once demanding and seductive. He doesn't put his suggestions and opinions in uncertain terms, and yet he avoids coming off as a control freak by expressing his thoughts so beautifully and clearly. Reading Hugo, it's difficult not to be wooed into becoming a Hugoite.
Make no mistake: There are far, far worse things for a poet than to follow Hugo's advice and methods. Still, if a poet is never able to shrug off some of Hugo's axioms, she will never achieve true greatness. Conventional wisdom has it that only after you have learned to follow the rules can you break them. There is truth in this. But it possible to be taught the rules so well that one can never break them. It is a daunting task for any poet to muster up the sense of authority to dismiss Hugo's teaching. If a poet is too shy and insecure to throw away his teacher's instruction (as many greats are), perhaps the best path is to avoid the formal instruction Hugo offers and to simply read the fruit of great poets instead.
buy it!.......2003-12-02
This book will motivate and inspire you. It's a reference that any beginning poet should own and cherish.
Book Description
Silence, A Year from Monday, M, Empty Words and X (in this order) form the five parts of a series of books in which Cage tries, as he says, "to find a way of writing which comes from ideas, is not about them, but which produces them." Often these writings include mesostics and essays created by subjecting the work of other writers to chance procedures using the I Ching (what Cage called "writing through").
Customer Reviews:
Very Interesting!!.......2007-02-17
This book is a work of art in itself. John Cage takes so many of his theories and applies them to his writing style, formatting, and type style. I suggest knowing a little about him before reading this book as it is a little easy to get lost in translation (figuratively speaking). Overall, it is definitely worth reading, and it is fairly affordable...a good addition to any collection.
Essential.......2002-05-09
Not just for musicians, but for anybody who is interested in music or philosophy. Cage's ideas presented in the work are fascinating in and of themselves, but even the manner in which he physically notates his thoughts on paper is amazing to see.
There's a common argument that his ideas (and this book) are overrated. I find this difficult to digest, especially when one considers the enormous impact Cage's writings and compositions have had on countless composers (basically anyone composing after 1950 has most likely taken a thing or two from the ideas in this book).
Sometimes he can be a little tough to follow in the book, as properly constructed sentences are not high up on Cage's list of priorities. However, this book has so much to offer that it is worth wading through the occasional slow spot.
So give it a whirl. Even if you don't like Cage's music, reading this book will give you insights into what he did that may change your mind or at least instill a newfound respect. At its best, this is inspiration of the highest sort.
Quintessential Cage.......2001-08-17
I keep reading it year after year and I keep finding sections of it I've never seen before. magic. A the same time, I read the same part overs and over again years later and they just get better.
It's just a remarkable text.
You have to get it.
This book is slightly overrated, actually.......2001-06-13
There is no denying the importance of John Cage as a composer as well as a writer. But even though this book is a necessary provocation for anyone who thinks they know what music is and should be, he is not a philosopher, and his ideas are often contradictory, naive and even romantic.
Romantic? Yes, I would say that for instance his idea of "sounds in themselves" and "nature" are romantic. Can we really eliminate all cultural impact and distortion just by refusing intention? I think not. Sounds are always inflected by history.
Still, I would not want a world without the challenge of his extreme stance.
Nothing Has Been The Same.......2000-05-20
It's always a strange sensation for me to go into a record store, or even see what's available here, and find so many John Cage recordings in print. As the most essential and avant-garde composer of the century, that's gratifying to me [a composer] but also unnerving that anyone so experimental and uncompromising in the arts would enjoy such popularity.
This book goes a long way towards explaining that. And in many ways, this book stands apart from his music, and can be enjoyed without ever hearing or knowing of Cage's music pieces. Because the music was almost by accident - Schoenberg told Cage that he was an inventor, not a composer, and this book demonstrates that, and goes further to show Cage was a philosopher. Music just happened to be the medium where he best expressed his philosophy, but it could have been painting or film, depending on his path. The book defines a way of living and thinking and seeing, and of course hearing, the world. That's what it's about. And it's beautiful and gentle quality capture the essence of Cage, a true quiet revolutionary. His revolution was profound, and best expressed in his piano piece 4'33", where the pianist does not make a sound at the instrument. The revolution of that event was the most profound and destabilizing in the history of music, and yet it was entirely silent. Such is the power of Cage's ideas that he has no need to really 'lecture' about them, he merely presents them and let's their own strength do the rest.
Book Description
"Now and then," writes Lionel Triling "it is possible to observe the moral life in process of revising itself." In this new book he is concerned with such a mutation: the process by which the arduous enterprise of sincerity, of being true to one's self, came to occupy a place of supreme importance in the moral life--and the further shift which finds that place now usurped by the darker and still more strenuous modern ideal of authenticity. Instances range over the whole of Western literature and thought, from Shakespeare to Hegel to Sartre, from Robespierre to R.D. Laing, suggesting the contradictions and ironies to which the ideals of sincerity and authenticity give rise, most especially in contemporary life. Lucid, and brilliantly framed, its view of cultural history will give Sincerity and Authenticity an important place among the works of this distinguished critic.
Customer Reviews:
Subtle, nuanced intellectual and literary history.......2001-05-20
This book, based on lectures he gave at Harvard in 1970, is delight. Trilling draws a fine but deep distinction between two conceptions of selfhood. Sincerity, or being true to yourself with an eye to being true to others, was the dominant concern of Renaissance and early modern thought and literature, from Shakespeare to Rousseau. Beginning with Wordsworth, gaining momentum throughout the 19th century, and finally emerging with full force in the 20th, though, there is a new, more morally demanding ideal of being what or who one is, apart from all external conditions. Trilling's discussion wanders about quite freely, but his observations about literature and ideas are always brilliant and refreshing. Highly recommended.
Book Description
Human consciousness, long the province of literature, has lately come in for a remapping--even rediscovery--by the natural sciences, driven by developments in Artificial Intelligence, neuroscience, and evolutionary biology. As the richest record we have of human consciousness, literature, David Lodge suggests, may offer a kind of understanding that is complementary, not opposed, to scientific knowledge. Writing with characteristic wit and brio, and employing the insight and acumen of a skilled novelist and critic, Lodge here explores the representation of human consciousness in fiction (mainly English and American) in light of recent investigations in the sciences.
How does the novel represent consciousness? And how has this changed over time? In a series of interconnected essays, Lodge pursues these questions down various paths: How does the novel's method compare with that of other creative media such as film? How does the consciousness (and unconscious) of the creative writer do its work? And how can criticism infer the nature of this process through formal analysis? In essays on Charles Dickens, E. M. Forster, Evelyn Waugh, Kingsley and Martin Amis, Henry James, John Updike, and Philip Roth, and in reflections on his own practice as a novelist, Lodge is able to bring to light--and to engaging life--the technical, intellectual, and sometimes simply mysterious working of the creative mind.
Customer Reviews:
A treat for literature lovers.......2005-01-11
I had several teachers throughout life that had an unparalleled ability to make knowledge seem arcane, obscure and utterly boring. Every two or three years, however, I had the privilege of being taught by a passionate teacher that had a real knack at making any subject sound enthralling.
I am sure David Lodge would be one of the latter. His essays are clear, witty, funny and knowledgeable. There wasn't a single essay that did not make me want to jump to the computer, connect to Amazon.com and buy a book from the author he was writing about. And all that with plain style devoid of the ubiquitous self conscious or ranting style of most contemporary critics.
A great read for literature lovers!
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- Cruel and unusual
- brilliant
- An Excellent Analysis and a Comprehensive Introduction
- Who is Nabokov??? No answers.... and-the-room-was-so-silent-I-heard-a Cough.
- Backhanded homage, Bloom's agon
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Lectures on Don Quixote
Vladimir Nabokov
Manufacturer: Harvest Books
ProductGroup: Book
Binding: Paperback
Nabokov, Vladimir
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Similar Items:
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Lectures on Literature
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Don Quixote
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Strong Opinions
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Don Quixote (Cliffs Notes)
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Nikolai Gogol
ASIN: 0156495406 |
Book Description
A fastidiously shaped series of lectures based on a chapter-by-chapter synopsis of the Spanish classic. Rejecting the common interpretation of Don Quixote as a warm satire, Nabokov perceives the work as a catalog of cruelty through which the gaunt knight passes. Edited and with a Preface by Fredson Bowers; photographs.
Customer Reviews:
Cruel and unusual.......2007-06-13
"... one of the most bitter and barbarous books ever penned" said Nabokov about "Don Quixote". Exposing the flood of physical and emotional abuse inflicted on the half insane knight and his largely average squire is at the heart of these lectures. In the early 50's, when Nabokov delivered his lectures on "Don Quixote" at Harvard, this was a radically new take on the classic novel which most critics considered good-natured and almost pastoral. For Nabokov, however, this position was quite in line with his signature irreverent views. He has always been sensitive to human suffering and considered pity for human condition one of the main attributes of art (in his "Lectures on Literature", for example, he especially noted compassion for the lame girl in "Ulysses" and Gregor's quiet suffering as a beetle in "Metamorphosis").
Building up on the themes of cruelty and insanity, Nabokov points out that in 1600's both were enjoyed as entertainment. The raw cruelty of 3,000 lashes that Sancho is to receive, or Don Quixote's suspension by the hand for two hours during which he "bellows like a bull", or the sick pleasure that many of the book's characters derive from Don Quixote's insanity and from playing into it - all that was run of the mill fun in Cervantes's Europe. Nabokov believes that this crude entertainment was the main source of the book's appeal for the readers when the book came out.
The novel's structure (which in Nabokov's world is second only to style) is really nonexistent: "The book belongs essentially to a primitive form, to the loosely strung, higgledy-pickled, variegated picaresque type". Nabokov notes that the many inconsistencies in the book Cervantes seems to either ignore or simply attribute to magic.
The novel's cruelty, its appeal to the "primitive reader" as a source of crude entertainment and its messy structure are described in convincing detail. By comparison, Nabokov's occasional appeal to Cervantes's genius is not developed into a stronger argument. Nabokov does note the dramatic dialogue which is "marvelous [...] even in translation", artistic and original depiction of Don Quixote and the equal number of the knight's losses and victories in each of the two parts of the book (Nabokov associates symmetry and balance with artistic genius). On balance, these lectures are much more about the novel's flaws.
If these lectures prompt one to pick up "Don Quixote", it would not be for the novel's artistic beauty that Nabokov highlighted: the first half of the book is mostly devoted to analyzing the novel's shortcomings and the second part to going over the synopsis of every chapter, with little commentary from Nabokov. These lectures are remarkable, however, for presenting a high standard of reading: for the attention to detail and for their inspiration to develop a literary opinion that you could truly claim your own.
brilliant.......2006-07-18
Great analysis. One only wonders whether, at turns, the criticism should be leveled at the translation.
An Excellent Analysis and a Comprehensive Introduction.......2006-04-30
I bought and read Nabokov's "Lectures on Literature" which is based on his European literature course that he taught at Cornell in the 1950s. That is an excellent guide to seven well known novels: "Mansfield Park, Bleak House, Madame Bovary, Dr. Jekyll and Mr. Hyde, The Walk by Swann's Place, The Metamorphosis, and Ulysses." In that set of course notes he dissects each book and spends about 40 pages or so on each novel discussing style, structure, etc. He spends more time on Ulysses and less on Kafka's "The Metamorphosis."
The present book is a bit different. He prepared only six lectures that he gave in the spring of 1952 at Harvard for the course Humanities 2. The aim is to describe and give an overall context for the work "Don Quixote." The notes still exist in six manilla folders and they are the basis of the present book edited by Fredson Bowers.
The course starts with a very brief introduction in the same style as the Cornell lectures with sketches of maps, etc. Next, he describes in detail the character of Don Quixote and Sancho Panza. Those are the first two chapters, or about 24 pages. Then he describes the structure of the book for another 25 pages, again with copies of Nabokov's actual class notes.
Cruelty and mystification are covered in a similar but lengthy analysis, followed by The Chronicler's Theme, and Victory and Defeats. The second half of the book is a chapter by chapter summary of both volumes I and II. In total, it is just over 200 pages of notes.
As Guy Davenport states in his introduction, the book puts most other teachers to shame who attempt to teach Don Quixote in a week. It is refreshing and detailed, and as Nabokov points out, this is an analysis of a book that evokes cruel laughter. It is not a "gentrified" story of an old book; and, according to Nabakov, such a past but popular interpretation was a misreading of the story. He compares this "crude old book" to the more sophisticated plays of Shakespeare, a contemporary of Cervantes. He spend almost no time on the life of Cervantes, and he thinks that the important focus should be the book itself not Cervantes biography - interesting as his life might have been. He recommends the Samuel Putnam translation or the 1950 Penguin version by J.M. Cohen. He recommends avoiding the Viking Press 1949 version.
This is a comprehensive and easy to read analysis of the first great European novel.
Who is Nabokov??? No answers.... and-the-room-was-so-silent-I-heard-a Cough........2005-12-20
O.K., once again this Russian runaway is subjecting his very own petty preferences on a piece and scope of Western Literature that (HE...Vladimir the Great) is not a part of. Sorry Nabby, but your prose style is too flabby and your envious lil' lectures are a lot too gabby. So who is Nabokov? Well he is a guy who's
book o' pedophilia was only put on the map because a director named Kubrick decided to thumb it's pages. You don't like Hemingway,Camus,Faulkner or Cervantes....alright Nabby, you don't have to like them, your dead and barely living through Lolita. These great authors and their great opuses are still greatly alive with them. Sorry Nabby, maybe in your next lifetime you will be apart of the club.
Backhanded homage, Bloom's agon.......2002-05-04
Nabokov claims to dislike Don Quixote and considers the novel 'crewl' yet spent a significant portion of time analyzing the novel and teaching it. I am reminded of Tolstoy's dismissal of Shakespeare and his dissection of King Lear. Orwell correctly pointed out that, among these giants, bothering to grapple with another's legend so completely is a nod to greatness, one doesn't bother to kill a knat w/ a sledgehammer.
Book Description
In The End of the Poem, Paul Muldoon, “the most significant English-language poet born since the Second World War” (The Times Literary Supplement), presents engaging, rigorous, and insightful explorations of a diverse group of poems, from Yeats’s “All Souls’ Night” to Stevie Smith’s “I Remember” to Fernando Pessoa’s “Autopsychography.” Here Muldoon reminds us that the word “poem” comes, via French, from the Latin and Greek: “a thing made or created.” He asks: Can a poem ever be a freestanding, discrete structure, or must it always interface with the whole of its author’s bibliography—and biography? Muldoon explores the boundlessness, the illimitability, created by influence, what Robert Frost meant when he insisted that “the way to read a poem in prose or verse is in the light of all the other poems ever written.” And he writes of the boundaries or borders between writer and reader and the extent to which one determines the role of the other.
At the end, Muldoon returns to the most fruitful, and fraught, aspect of the phrase “the end of the poem”: the interpretation that centers on the “aim” or “function” of a poem, and the question of whether or not the end of the poem is the beginning of criticism. Irreverent, deeply learned, often funny, and always stimulating, The End of the Poem is a vigorous and accessible approach to looking at poetry anew.
Customer Reviews:
Buckle-up!.......2007-03-17
This book is a collection of 15 lectures given by Mr. Paul Muldoon at Oxford England. Each lecture is dedicated to the presentation and analyses of one poem by one poet. All of these are well know favorites: ALL SOULS' NIGHT,W.B. Yeats, THE MOUNTAIN, Robert Frost, POETRY, Marian Moore, DOVER BEACH, Mathew Arnold, etc. Muldoon's presentations are fine samples of inventiveness, good taste, hyperbole, literary allusion, daring defragmentation and impeccable research. The author's innumerable literary allusion and quotation of hundreds of other poetic fragments, turn the book into a poetic potpourri, a "Journey into June" with poetry and poets. Very entertaining.
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