scholarly journals The concept of pure art as an object of discussions in Russian Soviet literary criticism of the 1920s

2018 ◽  
Vol 1 (22) ◽  
Author(s):  
T. V. Danilovich
Keyword(s):  
Literary Criticism

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

From Deleuze and Guattari's Words to a Deleuzian Theory of Reading

2015 ◽  
Vol 9 (4) ◽  
pp. 529-557
Author(s):  
Daniel Haines
Keyword(s):  
Literary Criticism ◽  
Deleuze And Guattari ◽  
Transcendental Empiricism ◽  
Theory Of Reading ◽  
Open Question

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

Outlaws and Misfits: The Identities of Modernist Criticism

2019 ◽  
Vol 14 (3) ◽  
pp. 337-356
Author(s):  
Ben Knights
Keyword(s):  
Literary Criticism ◽  
Close Reading ◽  
Industrial Capitalism ◽  
Emotional Maturity ◽  
English Departments ◽  
Emotional Autonomy ◽  
And Gender ◽  
Implicit Identity ◽  
The University ◽  
Cultural Positioning

The images of the writer as exile and outlaw were central to modernism's cultural positioning. As the Scrutiny circle's ‘literary criticism’ became the dominant way of reading in the University English departments and then in the grammar-schools, it took over these outsider images as models for the apprentice-critic. English pedagogy offered students not only an approach to texts, but an implicit identity and affective stance, which combined alert resistance to the pervasive effects of mechanised society with a rhetoric of emotional ‘maturity’, belied by a chilly judgementalism and gender anxiety. In exchanges over the close reading of intransigent, difficult texts, criticism's seminars sought a stimulus to develop the emotional autonomy of its participants against the ‘stock response’ promulgated by industrial capitalism. But refusal to reflect on its own method meant such pedagogy remained unconscious of the imitative pressures that its own reading was placing on its participants.

Veiled Theory: The Transmutation of Anthropology in T. S. Eliot's Critical Method

Paragraph ◽  
2006 ◽  
Vol 29 (3) ◽  
pp. 77-94 ◽  
Author(s):  
Adam Trexler
Keyword(s):  
Critical Theory ◽  
Literary Criticism ◽  
Literary Theory ◽  
Institutional Framework ◽  
Philosophical Investigation ◽  
Institutional History ◽  
Human History ◽  
Critical Practice ◽  
The Absolute ◽  
Historical Moment

While literary criticism is often seen as an unself-reflective forerunner to literary theory, this article argues that T.S. Eliot's theory of critical practice was a philosophically informed methodology of reading designed to create a disciplinary and institutional framework. To reconstruct this theory, it enriches theoretical methodology with intellectual and institutional history. Specifically, the article argues that Eliot's early critical theory depended on the paradigms of anthropology and occultism, developed during his philosophical investigation of anthropology and Leibniz. From this investigation, Eliot created an occult project that used spiritual monads as facts to progress toward the Absolute. The article goes on to argue that Eliot's methodology of reading was shaped by anthropology's and occultism's paradigms of non-academic, non-specialist reading societies that sought a super-historic position in human history through individual progress. The reconstruction of Eliot's intellectual and institutional framework for reading reveals a historical moment with sharp differences and surprising similarities to the present.

lmost all estimates of the figure of Alexander Solzhenitsyn are not related to literary criticism. Most studies evaluate his role, intentions and results. His figure is assessed in the context of the fate of the country, public perception and attitude to the country, which is Motherland for some, and mental and political enemy for the others. And for this purpose it is not even important who is right from the historical and political point of view. The point is who and how perceived the USSR and the entire Soviet project. Solzhenitsyn is seen as the enemy of the USSR and the Soviet project by those who popularized and helped him, and also according to his self-evaluation. Therefore, for those who identify themselves with the Soviet Union, its heritage and the entire Soviet project Solzhenitsyn represents the enemy and bearer of evil. For those who are hostile to the Soviet Union and the Soviet project, Solzhenitsyn is an ally in their struggle and bearer of good. Which of these parties is right is the issue of history and morality. 66% of Russian citizens support the first point of view, and the second point of view is supported by 25% of the population. Nowadays 88 % of Russian citizens know who Solzhenitsyn was. 31% consider him to be moral authority for them. 8% of the people believe that Solzhenitsyn presented true facts in his books.

2019 ◽  
Vol 66 ◽  
pp. 260-275
Author(s):  
Victor V.  Aksyuchits
Keyword(s):  
Soviet Union ◽  
Literary Criticism ◽  
Public Perception ◽  
Moral Authority ◽  
Point Of View ◽  
Self Evaluation ◽  
Political Ideas ◽  
The Soviet Union ◽  
The People ◽  
Russian Intelligentsia

In the article the author studies the formation process of Russian intelligentsia analyzing its «birth marks», such as nihilism, estrangement from native soil, West orientation, infatuation with radical political ideas, Russophobia. The author examines the causes of political radicalization of Russian intelligentsia that grew swiftly at the end of the 19th and beginning of the 20th centuries and played an important role in the Russian revolution of 1917.

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