Literary Criticism Idea and Act The English Institute 1939 1972 Selected Essays 1st Edition by Wimsatt ISBN 9780520329447 0520329449

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ISBN 10: 0520329449
ISBN 13: 9780520329447
Author: W.K. Wimsatt
 

Literary Criticism Idea and Act The English Institute 1939-1972 Selected Essays 1st Edition Table of contents:

Part I. IDEA: The Nature of Literature and of Literary Study, 1939-1971

I. I The Search for English Literary Documents

I. 2 Mimesis and Allegory16

I. 3 The Parallelism between Literature and the Arts*

I. 4 The Modern Myth of the Modern Myth*

I. 5 Imagination as Value*

I. 6 The Defense of the Illusion and the Creation of Myth* Device and Symbol in the Plays of Shakespeare

I. 7 Mimesis and Katharsis: an Archetypal Consideration*

I. 8 Ramus: Rhetoric and the Pre-Newtonian Mind*

I. 9 Belief and the Suspension of Disbelief*

I. 10 Patristic Exegesis in the Criticism of Medieval Literature: The Opposition129

I. 11 The Fate of Pleasure Wordsworth to Dostoevski*

I. 12 Ghostlier Demarcations*

I. 13 Sign, Sense, and Roland Barthes*

I. 14 Whorf, Chomsky and the Student of Literature*

Part II. ACT: English Literature, 1600—1950

II 1 Musica Mundana and Twelfth Night’ 208much attention to such matters as classic myths of the power of music, general speculations of the nature of mathematical proportion, correspondences obtaining among tonal configurations, the elements and the humors, and so on, as it did to the exigencies of contrapuntal writing. The production of such compendia of lore, mistakes, natural science, aesthetics, and principles of craftsmanship was continued through the seventeenth century, as evidenced by the treatises of Robert Fludd, Mersenne, Praetorius, and Athanasius Kircher. Even before 1600, however, music as a subject for systematic writing embraced many different categories of thought and experience. At a time when musical practice had varied forms, each playing its respective social role and each generating its particular stylistic conventions, a simple description of “practical music” would be complex enough. But to this has to be added the strange body of theory and doctrine, mathematical, cosmological, prosodical, mythological, ethical, and pseudo-physiological that had accumulated during the Middle Ages. The Renaissance, with its increasing requirements by both amateur and professional musicians for practical investigation, was unable to dispense with such an accumulation of authority on the subject of music’s raison (Tetre.

II. 2 On the Value of Hamlet*

II. 3 Shakespeare’s Texts and Modern Productions*

II. 4 EXCURSUS: The Example of Cervantes: The Novel as Parody moment over this heading. It turns into a characteristically dry understatement as soon as we realize that “the place they desired not” was the galleys. But the emphasis falls on the two common nouns in the main clause, “liberty” and “wretches.” Libertad: The very word, which was to reverberate with such easy sonority for Walt Whitman, carried a poignant overtone for Cervantes. After the famous battle of Lepanto in which he lost the use of his hand, as he never tires of retelling, he had been captured by pirates and sold as a slave, and had perforce spent five long years in Algerian captivity. That enslavement, in a place Cervantes desired not, must have lent special meaning to Don Quixote’s gesture of liberation. The tale later told by the Captive—the Spanish Captain enslaved at Algiers who recovers his greatest joy, lost liberty— is highly romanticized but it hints that the actual truth was stranger than the incidental fiction when it mentions a certain Cervantes (“tai de Saavedra”) and the deeds he did—and all to achieve liberty (“y todas por alcanzar libertad,” I,xl).

II. 5 Unifying Symbols in the Comedy of Ben Jonson229

II. 6 The Re-invented Poem: George Herbert’s Alternatives240

II. 7 A Mask Presented at Ludlow Castle: The Masque as a Masque*

II. 8 The Rising Poet, 1645260

II 9 Literary Criticism: Marvell’s “Horadan Ode” *

II. 10 Restoration Comedy and Later282

II. 11 Imitation as Freedom: 1717-1798*

II. 12 The Satiric Blake: Apprenticeship at the Haymarket? heard about Foote’s most famous character, Squintum, in The Minor.

II. 13 Coleridge: The Anxiety of Influence*

II. 14 The Irrelevant Detail and the Emergence of Form*

II. 15 Dickens and the Comedy of Humors*

II. 16 Two Faces of Edward

II. 17 Poetic Drama and the Well-made Play*

II. 18 EXCURSUS: Poetry in the Theatre and Poetry of the Theatre: Cocteau’s Infernal Machine*

II. 19 EXCURSUS: Sartre and the Drama of Ensnarement*

II. 20 The Urban Apocalypse*

Index

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