This Encyclopedia is the main finished advisor but either to the character and content material of literature, and to literary feedback. In 90 essays via prime overseas critics and students, the amount covers either conventional themes akin to literature and heritage, poetry, drama and the unconventional, and in addition more recent subject matters corresponding to the creation and reception of literature. present severe rules are in actual fact and provocatively mentioned, whereas the volume's association displays in a dynamic manner the wealthy range of latest wondering literature.
Each essay seeks to supply the reader with a transparent experience of the total importance of its topic in addition to assistance on extra reading.
An crucial paintings of reference, The Encyclopedia of Literature and Criticism is a stimulating advisor to the relevant preoccupations of latest serious wondering literature.
* sincerely written by means of students and critics of overseas status for readers in any respect degrees in lots of disciplines
* In-depth essays protecting all points, conventional and new, of literary experiences prior and present
* worthwhile cross-references in the textual content, with complete bibliographical references and proposals for additional reading
* unmarried index of authors, phrases, subject matters
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Extra info for Encyclopedia of Literature and Criticism (Routledge Companion Encyclopedias)
Methuen, London [first published 1949] Shklovsky, Viktor (1965) ‘Art as Technique’. Reis (eds), Russian Formalist Criticism: Four Essays, University of Nebraska Press, Lincoln, pp. W. K. (1954) The Verbal Icon, University of Kentucky Press, Lexington 26 2 CRITICISM CHRISTOPHER NORRIS INTRODUCTION It seems to me that a good way of grasping what is involved in recent literarycritical debates is to go right back to one of their major sources in Spinoza’s Theologico-Political Treatise (1670). This work raises all the relevant issues and does so, moreover, in a context of highly charged political and ideological argument which resembles our own at numerous points.
In all of them, the reference is to a world of fiction, of imagination. The statements in a novel, in a poem, or in a drama are not literally true; they are not logical propositions. There is a central and important difference between a statement, even in a historical novel or a novel by Balzac which seems to convey ‘information’ about actual happenings, and the same information appearing in a book of history or sociology. (Wellek and Warren, 1963, p. 125) The key terms are ‘fiction’ and ‘imagination’, apparently used synonymously.
Those critics who are more concerned with narrative genres will foreground ‘fiction’, those specializing in verse will stress ‘expression’ or ‘verbal patterning’; some will value ‘realism’, ‘particularity’, ‘verisimilitude’, others prefer to think of ‘Literature’ as conveying abstract, ‘universal’ ‘truths’. Such differences are not surprising, given the complex history of literary theory and of the cultural institution of ‘Literature’, not to mention the wide spectrum of genres and modes of discourse 12 LITERATURE that ‘Literature’ is supposed to include.