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This book is part of a series which moves the canon debate of the 1980s forward into a new multidisciplinary and cross-cultural phase by investigating problems of canon formation across the whole humanistic field. Some volumes explore the linguistic, political or anthropological dimensions of canonicity. Others examine the historical canons of individual disciplines. The important contribution to the canon debate is remarkable in examining the actual process of canon formation from three unusual and complementary angles. The first two chapters discuss historical attitudes to canons from antiquity onwards, showing the religious, aesthetic, cultural and political interests which have shaped our modern critical canons. Each of the four succeeding chapters examines an exemplary modern defendant, interpreter, or critic of canons: Ernst Gombrich, Northrop Frye, Frank Kermode, and Edward Said. A final chapter considers the origins and rationale of the contemporary debate, emphasizing the disciplinary and aesthetic problems we must confront if our cultural institutions are to meet the changing needs of the next century.
Given the popular-level conversations on phenomena like the Gospel of Thomas and Bart Ehrman’s Misquoting Jesus, as well as the current gap in evangelical scholarship on the origins of the New Testament, Michael Kruger’s Canon Revisited meets a significant need for an up-to-date work on canon by addressing recent developments in the field. He presents an academically rigorous yet accessible study of the New Testament canon that looks deeper than the traditional surveys of councils and creeds, mining the text itself for direction in understanding what the original authors and audiences believed the canon to be. Canon Revisited provides an evangelical introduction to the New Testament canon that can be used in seminary and college classrooms, and read by pastors and educated lay leaders alike. In contrast to the prior volumes on canon, this volume distinguishes itself by placing a substantial focus on the theology of canon as the context within which the historical evidence is evaluated and assessed. Rather than simply discussing the history of canon—rehashing the Patristic data yet again—Kruger develops a strong theological framework for affirming and authenticating the canon as authoritative. In effect, this work successfully unites both the theology and the historical development of the canon, ultimately serving as a practical defense for the authority of the New Testament books.
Jonathan Brody Kramnick's book examines the formation of the English canon over the first two-thirds of the eighteenth century. Kramnick details how the idea of literary tradition emerged out of a prolonged engagement with the institutions of cultural modernity, from the public sphere and national identity to capitalism and the print market. Looking at a wide variety of eighteenth-century critical writing, he analyses the tensions that inhabited the categories of national literature and public culture at the moment of their emergence.
The literary critic defends the importance of Western literature from Chaucer and Shakespeare to Kafka and Beckett in this acclaimed national bestseller. NOMINATED FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD Harold Bloom's The Western Canon is more than a required reading list—it is a “heroically brave, formidably learned” defense of the great works of literature that comprise the traditional Western Canon. Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the essential writers of the western literary tradition (The New York Times Book Review). Placing William Shakespeare at the “center of the canon,” Bloom examines the literary contributions of Dante Alighieri, John Milton, Jane Austen, Emily Dickenson, Leo Tolstoy, Sigmund Freud, James Joyce, Pablo Neruda, and many others. Bloom's book, much-discussed and praised in publications as diverse as The Economist and Entertainment Weekly, offers a dazzling display of erudition and passion. “An impressive work…deeply, rightly passionate about the great books of the past.”—Michel Dirda, The Washington Post Book World
An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicize their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received.
Halbertal provides a panoramic survey of Jewish attitudes toward Scripture, provocatively organized around problems of normative and formative authority, with an emphasis on the changing status and functions of Mishnah, Talmud, and Kabbalah.
Please note this is a 'Palgrave to Order' title (PTO). Stock of this book requires shipment from an overseas supplier. It will be delivered to you within 12 weeks. In this first study of Latino/a literature to systematically examine the post-Sixties generation of writers, The Latino/a Canon challenges the ways that Latino/a literary studies imagines the relationship between art, politics, and the market.
It is widely accepted among literary scholars that canon-formation began in the eighteenth century when scholarly editions and critical treatments of older works, designed to educate readers about the national literary heritage, appeared for the first time. In The Making of the English Literary Canon Trevor Ross challenges this assumption, arguing that canon-formation was going on well before the eighteenth century but was based on a very different set of literary and cultural values. Covering a period that extends from the Middle Ages to the institutionalisation of literature in the eighteenth century, Ross's comprehensive history traces the evolution of cultural attitudes toward literature in English society, highlighting the diverse interests and assumptions that defined and shaped the literary canon. An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicise their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received. By showing that canon-formation has served different functions in the past, The Making of the English Literary Canon is relevant not only to current debates over the canon but also as an important corrective to prevailing views of early modern English literature and of how it was first evaluated, promoted, and preserved. It is widely accepted among literary scholars that canon-formation began in the eighteenth century when scholarly editions and critical treatments of older works, designed to educate readers about the national literary heritage, appeared for the first time. In The Making of the English Literary Canon Trevor Ross challenges this assumption, arguing that canon- formation was going on well before the eighteenth century but was based on a very different set of literary and cultural values. Covering a period that extends from the Middle Ages to the institutionalisation of literature in the eighteenth century, Ross's comprehensive history traces the evolution of cultural attitudes toward literature in English society, highlighting the diverse interests and assumptions that defined and shaped the literary canon. An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicise their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received. By showing that canon-formation has served different functions in the past, The Making of the English Literary Canon is relevant not only to current debates over the canon but also as an important corrective to prevailing views of early modern English literature and of how it was first evaluated, promoted, and preserved.
This Thing We Call Literature collects ten essays from the combative, cantankerous cultural critic Arthur Krystal. The essays in this compact volume, mostly coming from The New Yorker, Harper's, and The Chronicle of Higher Education--all share Krystal's conviction that literature and the humanities more broadly are going down the tubes"