Cleanth Brooks – författare

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume One focuses on Classical criticism, exploring Socrates and the Rhapsode, poetry as structure, tragedy and comedy, Roman classicism, and some Medieval themes.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume Two focuses on Neo-Classical criticism and covers Medieval themes, the Sixteenth Century, English Neo-Classicism, late seventeenth-century themes, rhetoric and Neo-Classic wit, poetry as pictures, genius, emotion, and association, and Samuel Johnson.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume Three focuses on Romantic criticism and covers poetic diction, German ideas, imagination, rhapsodic didacticism, the Arnoldian prophecy, art as propaganda, art for art’s sake, expressionism, and the Historical Method.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume Four focuses on Modern criticism and covers tragedy and comedy, symbolism, I. A. Richards’ critical theory, the semantic principle, Eliot and Pound, fiction and drama, and myth and archetype.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume One focuses on Classical criticism, exploring Socrates and the Rhapsode, poetry as structure, tragedy and comedy, Roman classicism, and some Medieval themes.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume Two focuses on Neo-Classical criticism and covers Medieval themes, the Sixteenth Century, English Neo-Classicism, late seventeenth-century themes, rhetoric and Neo-Classic wit, poetry as pictures, genius, emotion, and association, and Samuel Johnson.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume Three focuses on Romantic criticism and covers poetic diction, German ideas, imagination, rhapsodic didacticism, the Arnoldian prophecy, art as propaganda, art for art’s sake, expressionism, and the Historical Method.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world.

Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

Volume Four focuses on Modern criticism and covers tragedy and comedy, symbolism, I. A. Richards’ critical theory, the semantic principle, Eliot and Pound, fiction and drama, and myth and archetype.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Comprising four volumes, books in this series cover Classical criticism, Neo-Classical criticism, Romantic criticism, and Modern criticism. Each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

In A Shaping Joy (originally published in 1971), Cleanth Brooks writes about modern literature and the criticism that has been developed to deal with it. Most of the essays concern poets and novelists of the twentieth century, but there are also discussions of nineteenth-century American writers such as Mark Twain and Edgar Allen Poe, and of traditional English poets such as Wordsworth, Milton, and Marlowe.

Among the functions of literature described in the first essay are those of nourishing the imagination and keeping the language alive and the channels of communication open. The criticism contained in the essays that follow admirably exemplifies these concerns. Whether writing on the world of William Faulkner and the literature of the American South, or on subjects more familiar to the British reader—Joyce, Auden, and T.S. Eliot, for example—Professor Brooks keeps the methods of communication marvelously unblocked. It is criticism of the rarest kind—alert, imaginative and wholly invigorating.

This book will be a beneficial read for students and researchers of English literature, particularly of literary criticism.