By David Mikics
A brand new guide of Literary phrases bargains a full of life, informative consultant to phrases and ideas that each pupil of literature must comprehend. Mikics’s definitions are essayistic, witty, realized, and constantly a excitement to learn. They sketch the derivation and historical past of every time period, together with particularly lucid motives of verse varieties and providing a company feel of literary classes and hobbies from classicism to postmodernism. The guide additionally offers a precious map to the complicated and from time to time complicated terrain of literary concept firstly of the twenty-first century: the writer has exact a chain of phrases, from New feedback to queer conception, that serves as a concise yet thorough introduction to contemporary advancements in literary examine. Mikics’s instruction manual is perfect for lecture room use in any respect degrees, from freshman to graduate. teachers can assign person entries, lots of that are well-shaped essays of their personal correct. precious bibliographical feedback are given on the finish of such a lot entries. The Handbook’s relaxing type and considerate viewpoint will motivate scholars to browse and research extra. each reader of literature should want to personal this compact, delightfully written advisor. (20070818)
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Additional resources for A New Handbook of Literary Terms
In their works, passions inevitably coast or plummet downward, from righteous anger to bitter raillery, from love to grasping bawdiness. See Price, To the Palace of Wisdom (). An economically told story with a moral, in which animals dramatize human faults. The genre originated with the ancient Greek writer Aesop, who lived perhaps as early as the sixth century , and some of whose pithy tales are still familiar today. The most famous example of a beast fable in English is Chaucer’s Nun’s Priest’s Tale (ca.
The opposition between the sublime and the beautiful is important in the work of a later philosopher (one influenced by Burke), Immanuel Kant. In his Critique of Judgment (), Kant distinguishes the beautiful from the pleasant (toward which we feel an inclination) and the good (toward which we feel esteem or respect). For the beautiful object we feel favor, according to Kant. , the marks of artistic purpose), yet it is not of instrumental use (it does not accomplish any practical goal in the world, as a tool or instrument does).
See Paul Friedländer, Plato (), and Gregory Vlastos, Socrates, Ironist and Moral Philosopher (). The critic Paul de Man explored the aporetic as a crucial feature of literature. The literary, de Man argued, distinguishes itself by the characteristic appearance of an epistemological disappointment, so that we find ourselves aporia ARCADIA 23 blocked off from the knowledge that the text seemed to promise us. What literary texts “know,” according to de Man, is that knowledge is aporetic, that is, unavailable, because it is subject to a double bind.