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Uses of Literature bridges the gap between literary theory and common-sense beliefs about why we read literature. Explores the diverse motives and mysteries of why we read Offers four different ways of thinking about why we read literature - for recognition, enchantment, knowledge, and shock Argues for a new “phenomenology” in literary studies that incorporates the historical and social dimensions of reading Includes examples of literature from a wide range of national literary traditions
Why do people in socialist China read and write literary works? Earlier studies in Western Sinology have approached Chinese texts from the socialist era as portraits of society, as keys to the tug-of-war of dissent, or, more recently, as pursuit of "pure art." The Uses of Literature looks broadly and empirically at these and many other "uses" of literature from the points of view of authors, editors, political authorities, and several kinds of readers. Perry Link, author of Evening Chats in Beijing, considers texts ranging from elite "misty" poetry to underground hand-copied volumes (shouchauben) and shows in concrete detail how people who were involved with literature sought to teach, learn, enjoy, explore, debate, lead, control, and resist. Using the late 1970s and early 1980s as an entree to the workings of China's "socialist literary system," the author shows how that system held sway from 1950 until around 1990, when an encroaching market economy gradually but fundamentally changed it. In addition to providing a definitive overview of how the socialist Chinese literary system worked, Link offers comparisons to the similar system in the Soviet Union. In the final chapter, the book seeks to explain how the word "good" was used and understood when applied to literary works in such systems. Combining aspects of cultural and literary studies, The Uses of Literature will reward anyone interested in the literature of modern China or how creativity is affected by a "socialist literary system."
In these widely praised essays, Calvino reflects on literature as process, the great narrative game in the course of which writer and reader are challenged to understand the world. Calvino himself made the selection of pieces to be included in this volume. Translated by Patrick Creagh. A Helen and Kurt Wolff Book
In this deep and engaging meditation on the usefulness and uselessness of reading in the digital age, Harvard English professor Marjorie Garber aims to reclaim “literature” from the periphery of our personal, educational, and professional lives and restore it to the center, as a radical way of thinking. But what is literature anyway, how has it been understood over time, and what is its relevance for us today? Who gets to decide what the word means? Why has literature been on the defensive since Plato? Does it have any use at all, other than serving as bourgeois or aristocratic accoutrements attesting to one’s worldly sophistication and refinement of spirit? What are the boundaries that separate it from its “commercial” instance and from other more mundane kinds of writing? Is it, as most of us assume, good to read, much less study—and what would that mean?
Why do critics feel impelled to unmask and demystify the works that they read? What is the rationale for their conviction that language is always withholding some important truth, that the critic's task is to unearth what is unsaid, naturalized, or repressed? These are the features of critique, a mode of thought that thoroughly dominates academic criticism. In this book, Rita Felski brilliantly exposes critique's more troubling qualities and proposes alternatives to it. Critique, she argues, is not just a method but also a sensibility--one best captured by Paul Ricoeur's phrase "the hermeneutics of suspicion." As the characteristic affect of critique, suspicion, Felski shows, helps us understand critique's seductions and limitations. The questions that Felski poses about critique have implications well beyond intramural debates among literary scholars. Literary studies, says Felski, is facing a legitimation crisis thanks to a sadly depleted language of value that leaves the field struggling to find reasons why students should care about Beowulf or Baudelaire. Why is literature worth bothering with? For Felski, the tendencies to make literary texts the object of suspicious reading or, conversely, impute to them qualities of critique, forecloses too many other possibilities. Felski offers an alternative model that she calls "postcritical reading." Rather than looking behind the text for its hidden causes, conditions, and motives, she suggests that literary scholars place themselves in front of a text, reflecting on what it calls forth and makes possible. Here Felski enlists the work of Bruno Latour to rethink reading as a co-production between actors, rather than an unraveling of manifest meaning, a form of making rather than unmaking. As a scholar with an abiding respect for theory who has long deployed elements of critique in her own work, Felski is able to provide an insider's account of critique's limits and alternatives that will resonate widely in the humanities.
Do the arts make us better people? Why should "high" art be thought higher than "low"? In the first part of this spirited polemic, Carey returns startling answers to these and related questions. In the second part he makes a provocative case for the superiority of literature to all other arts.
Theory of Literature was born from the collaboration of Ren Wellek, a Vienna-born student of Prague School linguistics, and Austin Warren, an independently minded "old New Critic." Unlike many other textbooks of its era, however, this classic kowtows to no dogma and toes no party line. Wellek and Warren looked at literature as both a social product--influenced by politics, economics, etc.--as well as a self-contained system of formal structures. Incorporating examples from Aristotle to Coleridge, written in clear, uncondescending prose, Theory of Literature is a work which, especially in its suspicion of simplistic explanations and its distrust of received wisdom, remains extremely relevant to the study of literature today.
A minefield of ambiguous concepts, leaden prose, and circular definitions await anyone who wishes to tackle the terms used to describe literature. Indeed, words like hermeneutics, heteroglossia, and mimesis more often impede than enhance one's appreciation of a great literary work. Cutting through the cant, How Literature Works offers a reader-friendly, easy-to-navigate guide that will aid anyone - from the undergraduate to the general reader - who's seeking a greater appreciation of their favorite novel, poem, or play. With a series of pithy, jaunty essays, the renowned literary critic John Sutherland - widely admired for his wit and crystal-clear reasoning - strips away the obscurity and pretension associated with literature. His book offers concise definitions and clear examples of 50 terms and concepts that all book lovers should know. An indispensable reference tool, How Literature Works will be a boon to readers of all sorts, from fans of William Shakespeare and Philip Roth to readers of Jane Smiley and J.K. Rowling.
Author : Elizabeth Long Publisher : University of Chicago Press Page : 275 pages File Size : 41,96 MB Release : 2003-08 Category : Education ISBN : 0226492621
Book clubs are everywhere these days. And women talk about the clubs they belong to with surprising emotion. But why are the clubs so important to them? And what do the women discuss when they meet? To answer questions like these, Elizabeth Long spent years observing and participating in women's book clubs and interviewing members from different discussion groups. Far from being an isolated activity, she finds reading for club members to be an active and social pursuit, a crucial way for women to reflect creatively on the meaning of their lives and their place in the social order.
Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her book around four key questions: Do women and men read differently? How have feminist critics imagined the female author? What does plot have to do with gender? And what do feminists have to say about the relationship between literary and political value? Interweaving incisive commentary with literary examples, Felski advocates a double critical vision that can do justice to the social and political meanings of literature without dismissing or scanting the aesthetic.