Литературоведение, литературная критика, история литературы — 269 книг — стр. 9

В этой книге творчество Чехова рассматривается как целостная система.
Автор устанавливает свойства, общие всем уровням чеховской художественной системы, - повествованию, сюжету, сфере идей - те черты, которые и создают мир Чехова, являющий собой новое слово в литературном мышлении XIX в.
На основе тщательного анализа текстов и привлечения обширного материала современной писателю критики уточняются некоторые, ставшие традиционными, сценки и характеристики художественной манеры Чехова.

В этой книге творчество Чехова рассматривается как целостная система.
Автор устанавливает свойства, общие всем уровням чеховской художественной системы, - повествованию,…

These are essays of interpretative criticism written by Woolf for the “common reader” as distinguished from the critic and the scholar. These essays examine medieval England, tsarist Russia, Elizabethan playwrights, Victorian novelists and modern essayists.

These are essays of interpretative criticism written by Woolf for the “common reader” as distinguished from the critic and the scholar. These essays examine medieval England,…

Thomas, seen by various reflective eyes, is shown to be an enduring poet of the modern age.

"Whether discussing modernism, postmodernism, semiotics, Homer, Cervantes, Borges, blue crabs or osprey nests, Barth demonstrates an enthusiasm for the life of the mind, a joy in thinking (and in expressing those thoughts) that becomes contagious... A reader leaves The Friday Book feeling intellectually fuller, verbally more adept, mentally stimulated, with algebra and fire of his own."--Washington PostBarth's first work of nonfiction is what he calls "an arrangement of essays and occasional lectures, some previously published, most not, most on matters literary, some not, accumulated over thirty years or so of writing, teaching, and teaching writing." With the full measure of playfulness and erudition that he brings to his novels, Barth glances into his crystal ball to speculate on the future of literature and the literature of the future. He also looks back upon historical fiction and fictitious history and discusses prose, poetry, and all manner of letters: "Real letters, forged letters, doctored letters... and of course alphabetical letters, the atoms of which the universe of print is made."

"The pieces brought together in The Friday Book reflect Mr. Barth's witty, playful, and engaging personality... They are lively, sometimes casual, and often whimsical--a delight to the reader, to whom Mr. Barth seems to be writing or speaking as a learned friend."--Kansas City Star

"No less than Barth's fiction these pieces are performances, agile, dexterous, robust, offering the cerebral delights of playful lucidity."--Richmond News Leader

"Whether discussing modernism, postmodernism, semiotics, Homer, Cervantes, Borges, blue crabs or osprey nests, Barth demonstrates an enthusiasm for the life of the mind, a joy in…

The exhausting plenitude of loosely connected detail in Gravity’s Rainbow makes it a favorite of postmodern critics, who claim it describes a modern, random, unknowable universe. Hume expands the possibilities as she discloses a mythic structure that underlies Pynchon’s work and provides easier access to his world.



�Myth turns chaos into cosmos,” Hume explains, describing how the profuse detail of Pynchon’s book allows for the creation of a �world humankind shapes out of chaos by means of ritual and myth. . . a set of interlocking stories. . . [that] fit into a narrative sequence or mythology that conveys, supports, and challenges cultural values.”



Pynchon’s �mythology is not rigidly consistent,” Hume notes, but �several strands of mythological action. . . serve a stabilizing function in this chaotic book.” Pynchon creates his own �unheroic” hero to show the way for making sense of the fragmented experience of life in the postmodern world.

The exhausting plenitude of loosely connected detail in Gravity’s Rainbow makes it a favorite of postmodern critics, who claim it describes a modern, random, unknowable universe.…

To the uninitiated, Thomas Pynchon’s V. seems to defy comprehension with its open-ended and fragmented narrative, huge cast of characters (some 150 of them), and wide range of often obscure references. J. Kerry Grant’s Companion to �V.” takes us through the novel chapter by chapter, breaking through its daunting surface by summarizing events and clarifying Pynchon’s many allusions. The Companion draws extensively from existing critical and explicative work on V. to suggest the range of interpretations that the novel can support.The hundreds of notes that comprise the Companion are keyed to the three most widely cited editions of V. Most notes are interpretive, but some also provide historical and cultural contexts or help to resurrect other nuances of meaning. Because it does not constitute a particular �reading” of, or �take” on, the novel, the Companion will appeal to a wide range of users. Rather than attempting to make final sense of the novel, the Companion exposes and demystifies Pynchon’s intent to play with our conventional attitudes about fiction.

To the uninitiated, Thomas Pynchon’s V. seems to defy comprehension with its open-ended and fragmented narrative, huge cast of characters (some 150 of them), and wide range of…

David Hume was one of the most important British philosophers of the eighteenth century. The first part of his Treatise on Human Nature is a seminal work in philosophy. Hume on Knowledge introduces and assesses:
* Humes life and the background of the Treatise
* The ideas and text in the Treatise
* Humes continuing importance to philosophy

David Hume was one of the most important British philosophers of the eighteenth century. The first part of his Treatise on Human Nature is a seminal work in philosophy. Hume on…

What is literary theory? Is there a relationship between literature and culture? In fact, what is literature, and does it matter? These questions and more are addressed in Literary Theory: A Very Short Introduction, a book which steers a clear path through a subject which is often perceived to be complex and impenetrable. Jonathan Culler, an extremely lucid commentator and much admired in the field of literary theory, offers discerning insights into such theories as the nature of language and meaning, and whether literature is a form of self-expression or a method of appeal to an audience. Concise yet thorough, Literary Theory also outlines the ideas behind a number of different schools: deconstruction, semiotics, postcolonial theory, and structuralism, among others. From topics such as literature and social identity to poetry, poetics, and rhetoric, Literary Theory: A Very Short Introduction is a welcome guide for anyone interested in the importance of literature and the debates surrounding it.

What is literary theory? Is there a relationship between literature and culture? In fact, what is literature, and does it matter? These questions and more are addressed in…

"In English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence. We cannot refer to ?the tradition? or to ?a tradition?; at most, we employ the adjective in saying that the poetry of So-and-so is ?traditional? or even ?too traditional.? Seldom, perhaps, does the word appear except in a phrase of censure. If otherwise, it is vaguely approbative, with the implication, as to the work approved, of some pleasing arch?ological reconstruction. You can hardly make the word agreeable to English ears without this comfortable reference to the reassuring science of arch?ology. Certainly the word is not likely to appear in our appreciations of living or dead writers. Every nation, every race, has not only its own creative, but its own critical turn of mind; and is even more oblivious of the shortcomings and limitations of its critical habits than of those of its creative genius. We know, or think we know, from the enormous mass of critical writing that has appeared in the French language the critical method or habit of the French; we only conclude (we are such unconscious people) that the French are ?more critical? than we, and sometimes even plume ourselves a little with the fact, as if the French were the less spontaneous. Perhaps they are; but we might remind ourselves that criticism is as inevitable as breathing, and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism. One of the facts that might come to light in this process is our tendency to insist, when we praise a poet, upon those aspects of his work in which he least resembles anyone else. In these aspects or parts of his work we pretend to find what is individual, what is the peculiar essence of the man. We dwell with satisfaction upon the poet?s difference from his predecessors, especially his immediate predecessors; we endeavour to find something that can be isolated in order to be enjoyed. Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but the period of full maturity."

"In English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence. We cannot refer to ?the tradition? or to ?a tradition?; at most,…

Книга И.Л.Андроникова "Лермонтов. Исследования и находки" уже известна широким кругам читателей и получила в 1967 году Государственную премию СССР. В настоящее, четвертое издание внесено дополнение - новые изобразительные материалы, хранящиеся в архиве Колумбийского университета США. Публикация их в советской печати осуществляется впервые и составляет значительное культурное событие.

Книга И.Л.Андроникова "Лермонтов. Исследования и находки" уже известна широким кругам читателей и получила в 1967 году Государственную премию СССР. В настоящее, четвертое издание…

В книге "Я хочу рассказать вам…" собраны статьи, очерки, литературные портреты, рассказы, исследования, охватывающие целый ряд современных и исторических тем, отражающие широкий круг интересов автора. Тут работы о прозе, о поэзии, о кино, театре, музыке, живописи, художественном развитии литературы для радио и письменной речи. Освещаются явления культуры русской, грузинской, украинской, армянской, кабардинской и дагестанской.

В книге "Я хочу рассказать вам…" собраны статьи, очерки, литературные портреты, рассказы, исследования, охватывающие целый ряд современных и исторических тем, отражающие широкий…

Тит Лукреций Кар - талантливый и оригинальный римский поэт и философ, оказавший огромное влияние как на древнюю, так и на новую литературу.
Он был пламенным последователем эпикуреизма. Поэта больше всего интересовала естественно-научная часть философской системы Эпикура. Ее изложение стало основой представленного в настоящем издании выдающегося творения Лукреция «О природе вещей». Эта дидактическая поэма написана гекзаметром и состоит из шести книг, в которых образным поэтическим языком изложено учение о происхождении мира, о вечном движении атомов, о жизни и смерти.
В качестве приложений публикуются малоизвестные работы Гераклита Эфесского, Парменида, Эмпедокла, Эпикура.

Тит Лукреций Кар - талантливый и оригинальный римский поэт и философ, оказавший огромное влияние как на древнюю, так и на новую литературу.
Он был пламенным последователем…

На основе глубокого анализа произведений искусства, посвященных этому мифу, великий немецкий писатель и критик Готхольд Эфраим Лессинг (1729 - 1781) создал трактат "Лаоккон, или О границах живописи и поэзии", вошедший в сокровищницу мировой эстетической и критической мысли. В нем излагаются принципы реалистического искусства.

На основе глубокого анализа произведений искусства, посвященных этому мифу, великий немецкий писатель и критик Готхольд Эфраим Лессинг (1729 - 1781) создал трактат "Лаоккон, или О…

This fresh examination of Pynchon’s use of painting, film, music, and literature shows that his true art lies in humanis­tic allusions that stress the possibility of spiritually separating oneself from the modern wasteland.
Cowart disagrees with critics who see Pynchon as a scientist writing about entropy, although Pynchon does illus­trate the nihilistic world for which he is famous in allusions to painting and film, both of which mask a Void. But more important, these allusions call into question what is real and what is not. Through musical and literary allu­sions Pynchon suggests the speculative world, the world of unrealized possibil­ity. Music hints at the dimensions of ex­perience people miss because of the nar­row range of experiences to which they are attuned. Literary allusions support and extend the almost mystical sense created by musical allusions, thus sug­gesting that in Pynchon’s view, human consciousness need not be trapped by entropic drift.

This fresh examination of Pynchon’s use of painting, film, music, and literature shows that his true art lies in humanis­tic allusions that stress the possibility of spiritually…