Eric Griffiths – författare

Dante Alighieri created poetry of unparalleled force and beauty that proved influential far beyond the borders of his native Italy and beyond his own time. This new collection brings together selections from a wide variety of English translations of Dante's poetry including the passionate Vita Nuova and the Commedia - his epic tale of one man's journey into the after-life. It also includes extracts from a wealth of poems inspired by his work - including Spenser's Faerie Queen, Milton's Paradise Lost, Ezra Pound's Cantos and T. S. Eliot's The Waste Land. Covering the period from Chaucer to the present day, this is a remarkable exploration of the heritage provided by one of the most inspirational poets of all time.

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths'' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people''s arguments, but of the whole business of criticism in general, with what he calls its ''over-concentration on a narrow range of examples . . . such over-concentration warps our thinking''. Implicit and explicit throughout his work is the argument that ''an appropriately wide range of instances is essential to making progress in conceptualisation''; that what we need, in order to do better thinking, is ''a keener attention to a greater variety of examples''. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths'' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people''s arguments, but of the whole business of criticism in general, with what he calls its ''over-concentration on a narrow range of examples . . . such over-concentration warps our thinking''. Implicit and explicit throughout his work is the argument that ''an appropriately wide range of instances is essential to making progress in conceptualisation''; that what we need, in order to do better thinking, is ''a keener attention to a greater variety of examples''. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.

The Printed Voice of Victorian Poetry starts from a simple fact: our written language does not represent the way we speak. Intonation, accent, tempo, and pitch of utterance can be inferred from a written text but they are not clearly demonstrated there. The book shows the implications of this fact for linguists and philosophers of language and offers fundamental criticisms of some recent work in these fields. It aims principally to describe the ways in whichnineteenth-century English poets–Tennyson, Browning, Hopkins–responded creatively to the ambiguities involved in writing down their own voices, the melodies of their speech. Original readings of the poets'' work are given, both at a minutely detailed level and with regard to major preoccupations of theperiod–immortality, morbidity, marriage, social divisions, and religious conversions–and in this way Eric Griffiths offers a new map of Victorian poetry.

The Printed Voice of Victorian Poetry starts from a simple fact: our written language does not represent the way we speak. Intonation, accent, tempo, and pitch of utterance can be inferred from a written text but they are not clearly demonstrated there. The book shows the implications of this fact for linguists and philosophers of language and offers fundamental criticisms of some recent work in these fields. It aims principally to describe the ways in whichnineteenth-century English poets–Tennyson, Browning, Hopkins–responded creatively to the ambiguities involved in writing down their own voices, the melodies of their speech. Original readings of the poets'' work are given, both at a minutely detailed level and with regard to major preoccupations of theperiod–immortality, morbidity, marriage, social divisions, and religious conversions–and in this way Eric Griffiths offers a new map of Victorian poetry.

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people's arguments, but of the whole business of criticism in general, with what he calls its 'over-concentration on a narrow range of examples . . . such over-concentration warps our thinking'. Implicit and explicit throughout his work is the argument that 'an appropriately wide range of instances is essential to making progress in conceptualisation'; that what we need, in order to do better thinking, is 'a keener attention to a greater variety of examples'. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.