By Terry Eagleton
What makes a piece of literature solid or undesirable? How freely can the reader interpret it? might a nursery rhyme like Baa Baa Black Sheep be packed with hid loathing, resentment, and aggression? during this available, delightfully pleasing e-book, Terry Eagleton addresses those interesting questions and a number of others. How to learn Literature is the ebook of selection for college students new to the research of literature and for all different readers drawn to deepening their realizing and enriching their interpreting experience.
In a chain of wonderful analyses, Eagleton indicates the way to learn with due recognition to tone, rhythm, texture, syntax, allusion, ambiguity, and different formal facets of literary works. He additionally examines broader questions of personality, plot, narrative, the inventive mind's eye, the that means of fictionality, and the strain among what works of literature say and what they express. Unfailingly authoritative and cheerfully opinionated, the writer offers priceless commentaries on classicism, Romanticism, modernism, and postmodernism besides spellbinding insights right into a large variety of authors, from Shakespeare and J. ok. Rowling to Jane Austen and Samuel Beckett.
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Extra resources for How to Read Literature
But Zola’s condemnation of what escapes us recalls the manner in which he defends his effort to render details in sheer quantity. 30). This desire was not lost on his contemporaries, like Barbey d’Aurevilly, who in 1902 recalled with admiration Zola’s “pen that forgets nothing” (201). 329). In what amounts to a recontextualizing of Lockean epistemology, the experimenter receives data empirically once the experiment—the provoked observation—has been initiated. Critics who see this method as necessarily artificial have a valid point, in that Zola himself concedes that there is a provocation.
The immediate relationship between theory and praxis—or rather the belief that theoretical adjustments can equate to ultimately practical ones—reveals an understanding of epistemology fundamentally different to Sartre’s. In a very real sense, the basic differences between Sartre’s and Adorno’s views of knowledge are similar to the basic differences between Zola’s and Nietzsche’s views of knowledge. They are similar as well to the basic differences between the imparting of knowledge by realist artists or authors aiming to clarify, and the critiquing of knowledge or what Paul Fry has called “knowledge-fixation” by formal experimenters and authors of the anti-realistic (204).
Their content may be at odds, he suggests, but their forms and ways of thinking are not. And, for Adorno, it is ultimately the form that matters. 28). It is difficult not to read this passage in “Commitment” as a tacit response to a number of moments in which other scholars had accused Adorno’s beloved modernism of consorting with Nazism. Lukács alone provides repeated examples. ”, Lukács makes bedfellows of modernists and Hitler. Lukács claims that Gottfried Benn’s cynical answer to the question of whether artists can change the world explains why Benn could “tolerate the social evils of his time—even collaborating with Hitler” (64), and that the view of humanity suggested by modernist anti-realism “connives at that modern nihilism from which both Fascism and Cold War ideology draw their strength” (63).