Titlebook: Counter-Modernism in Current Critical Theory; Geoffrey Thurley Book 1983 Geoffrey Thurley 1983 Dante Alighieri.drama.essay.Interpretation.

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Measured

https://doi.org/10.1007/978-3-322-95387-2ures so as to identify its literariness was early seen as the goal of a formalist criticism. Stylistics in particular claimed to eliminate those impressionistic or subjective elements supposed to vitiate mainstream criticism, and therefore to obviate the value-judgement altogether. Now it appears th

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absorbed

hies, ideologies (to use the loaded Marxist term). There is no need for this set of assumptions and visions to be clearly articulated: in fact, one must suspect the critic who is able to do so. Critical praxis is far too complex and subtle to allow of very clear articulation: it is really the mind o

惡名聲

text and phenomena outside it, either in other literature or in general discourse or in ‘reality’. Whether such constatations become real interpretations depends upon their capacity to explain what is felt to be the assertion — the meaning of the work.

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石墨

rld’s action to its own inaction; (b) the attempt of a critical power-group to take over the realm of cultural discourse from the artists traditionally honoured in it; (c) the attempts of this bourgeois intelligentsia to fend off a real Marxism by rendering all discourse ineffectual, and thereby per

AWL

ngs and truths, but of pseudo-statements, which amount to a kind of linguistic play. Lastly, there is the soft-core, or historicist version of . theory, that modern texts in particular (dating from the middle of the nineteenth or the end of the eighteenth century) differ from earlier literature in b

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