Harold Bloom – författare
Visar alla böcker från författaren Harold Bloom. Handla med fri frakt och snabb leverans.
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"Det verkliga bruk vi har av Shakespeare eller av Cervantes, av Homeros eller Dante, av Chaucer eller Rabelais, det är att de bistår vårt inre jag i dess växande. Att fördjupa sig i kanon gör en inte till en bättre eller sämre människa, en dugligare eller odugligare medborgare. Det enda Västerlandets kanon kan bidra med, det är en djupare insikt om hur vi bäst använder vår egen ensamhet, den ensamhet vars slutgiltiga gestalt är vår uppgörelse med vår dödlighet."I Den västerländska kanon argumenterar Harold Bloom, legendarisk kritiker och professor i litteraturvetenskap vid Yale, för att litteratur ska bedömas ur ett estetiskt perspektiv, inte ett ideologiskt eller politiskt. Boken, som utkom första gången 1994, är skriven ur en frustration med en växande kritik mot kanon av politiska skäl, en rörelse som enligt Bloom riskerar att tillintetgöra själva begreppet och förstöra ett mångtusenårigt arv. Harold Bloom visar i Den västerländska kanon och i hela sitt författarskap vilken inkännande läsare han är, helt fokuserad på textens kvaliteter och vad litteraturen kan göra för den enskilda människan. Denna nyutgåva har ett nyskrivet förord av Carl-Johan Malmberg.
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Klassisk introduktion till världslitteraturen»Underbar. Harold Bloom är en av de stora pedagogerna. Han skriver med passion om författarna han älskar och vars verk bejakar livet.« | John Banville, Irish Times I en tid när alla kan informera sig om vad som helst, men allt färre förmår koncentrera sig, framstår den lyckade läsningen av en riktig bok som en frälsning från världsplågan stress. För den legendariske amerikanske litteraturkritikern Harold Bloom är läsning ett sätt att finna harmoni men också mer än så. Snarare än information erbjuder den stora litteraturen vishet. Bloom, världsberömd för stora kritiska verk som The Anxiety of Influence [1973] och The Western Canon [1994], riktar här en vädjan till samtiden från en »desperat läsare«. Han inleder med att guida genom de stora genrerna poesi, roman, novell, drama och går sedan snabbt vidare till sina älsklingar: Williamarna Shakespeare och Blake, Emily Dickinson och andra, innan han introducerar sitt hemlands epik. Hur läsa och varför framstår som en allt riktigare och viktigare bok. I svensk översättning av Staffan Holmgren.
HAROLD BLOOM, född 1930 i Bronx, New York, är en av vår tids mest erkända och omtalade litteraturkritiker, författare till kritiskt innovativa verk som The Anxiety of Influence [1973] och The Western Canon [1994] och översatt till fler än fyrtio språk. Bloom är professor i humaniora vid Yale University.
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The literary critic defends the importance of Western literature from Chaucer and Shakespeare to Kafka and Beckett in this acclaimed national bestseller.“An impressive work…deeply, rightly passionate about the great books of the past.”—Michael Dirda, The Washington Post Book WorldHarold Bloom's The Western Canon is more than a required reading list—it is a “heroically brave, formidably learned” defense of the great works of literature that comprise the traditional Western Canon. Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the essential writers of the western literary tradition (The New York Times Book Review).Placing William Shakespeare at the “center of the canon,” Bloom examines the literary contributions of Dante Alighieri, John Milton, Jane Austen, Emily Dickenson, Leo Tolstoy, Sigmund Freud, James Joyce, Pablo Neruda, and many others. Bloom's book, much-discussed and praised in publications as diverse as The Economist and Entertainment Weekly, offers a dazzling display of erudition and passion.
Take Arms Against a Sea of Troubles
The Power of the Reader's Mind over a Universe of Death
Häftad, Engelska, 2021
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“The great poems, plays, novels, stories teach us how to go on living. . . . Your own mistakes, accidents, failures at otherness beat you down. Rise up at dawn and read something that matters as soon as you can.”So Harold Bloom, the most famous literary critic of his generation, exhorts readers of his last book: one that praises the sustaining power of poetry."Passionate. . . . Perhaps Bloom’s most personal work, this is a fitting last testament to one of America’s leading twentieth-century literary minds."—Publishers Weekly“An extraordinary testimony to a long life spent in the company of poetry and an affecting last declaration of [Bloom's] passionate and deeply unfashionable faith in the capacity of the imagination to make the world feel habitable”—Seamus Perry, Literary Review"Reading, this stirring collection testifies, ‘helps in staying alive.’“—Kirkus Reviews, starred reviewThis dazzling celebration of the power of poetry to sublimate death—completed weeks before Harold Bloom died—shows how literature renews life amid what Milton called “a universe of death.” Bloom reads as a way of taking arms against the sea of life’s troubles, taking readers on a grand tour of the poetic voices that have haunted him through a lifetime of reading. “High literature,” he writes, “is a saving lie against time, loss of individuality, premature death.” In passages of breathtaking intimacy, we see him awake late at night, reciting lines from Dante, Shakespeare, Milton, Montaigne, Blake, Wordsworth, Hart Crane, Jay Wright, and many others. He feels himself “edged by nothingness,” uncomprehending, but still sustained by reading. Generous and clear‑eyed, this is among Harold Bloom’s most ambitious and most moving books.
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Almost all other poetry anthologies have been edited and annotated by a committee of scholars. This is entirely Bloom's selection with his own inimitable commentary. This comprehensive anthology attempts to give the common reader possession of six centuries of great British and American poetry. The book features a large introductory essay by Harold Bloom called "The Art of Reading Poetry," which presents his critical reflections of more than half a century devoted to the reading, teaching, and writing about the literary achievement he loves most. There are also headnotes by Harold Bloom to every poet in the volume as well as to the most important individual poems. Much more than any other anthology ever gathered, this book provides readers who desire the pleasures of a sublime art with very nearly everything they need in a single volume. It also is regarded by its editor as his final meditation upon all those who have formed his mind.
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Harold Bloom, the doyen of American literary critics and author of The Western Canon, has spent a professional lifetime reading, writing about and teaching Shakespeare. In this magisterial interpretation, Bloom explains Shakespeare’s genius in a radical and provocative re-reading of the plays.How to understand Shakespeare, whose ability so far exceeds his predecessors and successors, whose genius has defied generations of critics’ explanations, whose work is of greater influence in the modern age even than the Bible? This book is a visionary summation of Harold Bloom’s reading of Shakespeare and in it he expounds a brilliant and far-reaching critical theory: that Shakespeare was, through his dramatic characters, the inventor of human personality as we have come to understand it. In short, Shakespeare invented our understanding of ourselves. He knows us better than we do: ‘The plays remain the outward limit of human achievement: aesthetically, cognitively, in certain ways morally, even spiritually. They abide beyond the end of the mind’s reach; we cannot catch up to them. Shakespeare will go on explaining us in part because he invented us… ’ In a chronological survey of each of the plays, Bloom explores the supra-human personalities of Shakespeare’s great protagonists: Hamlet, Lear, Falstaff, Rosalind, Juliet. They represent the apogee of Shakespeare’s art, that art which is Britain’s most powerful and dominant cultural contribution to the world, here vividly recovered by an inspired and wise scholar at the height of his powers.
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"By definition, all living poets are excluded from this book. Myself seventy-nine years of age, I grieve still for many of these poets who were my friends. But knowledge, not pathos, is my purpose in gathering this anthology. Lastness is a part of knowing". (Harold Bloom). From Harold Bloom, the foremost literary critic of our time, comes a delightful anthology of the final works of great poets. In "Till I End My Song", Bloom has meticulously curated the last poems of one hundred influential poets. These poems, sometimes the literal end and other times the imagined conclusion to a poetic career, offer a lens through which to contemplate the enduring nature of art and the inevitability of death. Bloom's selections highlight the work of the canonized poets T.S. Eliot, Alexander Pope, W.B. Yeats, Walt Whitman, Emily Dickinson, and William Shakespeare, but also revive interest in distinguished but long-neglected poets, such as Conrad Aiken, William Cowper, Edwin Arlington Robinson, George Meredith, and Louis MacNeice. An authoritative collection of last poems, "Till I End My Song" will reverberate long into the coming silence.
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This volume devotes over 100 pages to William Blake, including The Book of Thel and the entire "Night the Ninth" from The Four Zoas, as well as excerpts from Milton and Jerusalem. It also includes poems and prose by Wordsworth, Coleridge, Keats, Shelley, and Byron.
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Bloom's The Anxiety of Influence, an insightful study of Romantic poets and the relation between tradition and the individual artist, has sold over 17,000 copies in paperback since 1984 and remains a central work of criticism for students of literature. For the second edition, Bloom offers a new introduction which explains the genesis of his thinking and the subsequent influence of the book on literary criticism of the past twenty years.
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In print for twenty-seven years, A Map of Misreading serves as a companion volume to Bloom's other seminal work, The Anxiety of Influence. In this finely crafted text, Bloom offers instruction in how to read a poem, using his theory that patterns of imagery in poems represent both a response to and a defense against the influence of precursor poems. Influence, as Bloom conceives it, means that there are no texts, but only relationships between texts. Bloom discusses British and American poets including Milton, Wordsworth, Shelley, Keats, Tennyson, Browning, Whitman, Dickinson, Stevens, Warren, Ammons and Ashbery. A full-scale reading of one poem, Browning's "Childe Roland to the Dark Tower Came," represents this struggle between one poet and his precursors, the poem serving as a map for readers through the many versions of influence from Milton to modern poets. For the first time, in a new preface, Bloom will consider the map of misreading drawn by contemporary poets such as Ann Carson and Henri Cole. Bloom's new exploration of contemporary poetry over the last twenty years will illuminate how modern texts relate to previous texts, and contribute to the literary legacy of their predecessors.
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Hailed as 'the indispensable critic' by The New York Review of Books, Harold Bloom has for decades been sharing with readers and students his genius and passion for understanding literature and explaining why it matters. In The Daemon Knows, he turns his attention to the writers of his own national literature in a book that is one of his most incisive and profoundly personal to date. Pairing Walt Whitman with Herman Melville, Ralph Waldo Emerson with Emily Dickinson, Nathaniel Hawthorne with Henry James, Mark Twain with Robert Frost, Wallace Stevens with T. S. Eliot, and William Faulkner with Hart Crane, Bloom places these writers' works in conversation with one another, exploring their relationship to the 'daemon'-the spark of genius or Orphic muse-in their creation, and helping us understand their writing with new immediacy and relevance. It is above all the intensity of their preoccupation with the sublime, Bloom suggests, that distinguishes these American writers from their European predecessors.A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows may be Bloom's most masterly book yet.
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Originally published in 1949, Gilbert Highet's seminal The Classical Tradition is a herculean feat of comparative literature and a landmark publication in the history of classical reception. As Highet states in the opening lines of his Preface, this book outlines "the chief ways in which Greek and Latin influence has moulded the literatures of western Europe and America. " With that simple statement, Highet takes his reader on a sweeping exploration of the history of western literature. To summarize what he covers is a near-impossible task. Discussions of Ovid and French literature of the Middle Ages and Chaucer's engagement with Virgil and Cicero lead, swiftly, into arguments of Christian versus "pagan " works in the Renaissance, Baroque imitations of Seneca, and the (re)birth of satire. Building momentum through Byron, Tennyson, and the rise of "art of art's sake, " Highet, at last, arrives at his conclusion: the birth and establishment of modernism. Though his humanist style may appear out-of-date in today's postmodernist world, there is a value to ensuring this influential work reaches a new generation, and Highet's light touch and persuasive, engaging voice guarantee the book's usefulness for a contemporary audience. Indeed, the book is free of the jargon-filled style of literary criticism that plagues much of current scholarship. Accompanied by a new foreword by renown critic Harold Bloom, this reissue will enable new readers to appreciate the enormous legacy of classical literature in the canonical works of medieval, Renaissance, and modern Europe and America.
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Harold Bloom's selection of Pater's writings brings together in one volume the most important sections and passages from The Renaissance, Imaginary Portraits, Appreciations, Plato and Platonism, Greek Studies, and Sketches and Reviews, as well as "The Child in the House." Pater, the chief aesthetician and literary critic of Victorian England, brought his powerful imagination to bear on a wide range of subjects: from the drama of Euripides to the painters of the Renaissance, from the Romantic poets to the pre-Raphaelites, from Plato to Oscar Wilde. In the twentieth century, Pater's theories of art and literature exerted a strong inluence on the work of Yeats, Pound, Eliot, Joyce, and Stevens.
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This reinterpretation of the full sweep of English and American romantic poetry offers close readings of poems of Blake, Wordsworth, Shelley, Keats, Tennyson, Browning, Whitman, Yeats, and Stevens. It also reviews the crucial ideas of Emerson, Nietzsche, and in particular Freud, whose psychoanalytic theory of repression and defense Bloom undertakes to revise for purposes of literary criticism. "Bloom offers a fully defined alternative to the principal modes of contemporary criticism, from Freudian literary criticism (which he insists is neither Freudian nor literary criticism) to the New Criticism and structuralist and archetypal approaches. It is an original, vigorous, and passionate study which is both compelling and provocative."-The British Studies Monitor"Show me but one paragraph of Bloom's approaches to texts, and I'm hooked. . . . I find sheer delight in his ingenious ways."-Kenneth Burke"Bloom has made a remarkable contribution to poetic theory."-Phoebe Pettingell, The New Leader
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Our most revered critic returns to his signature theme"Literary criticism, as I attempt to practice it," writes Harold Bloom in The Anatomy of Influence, "is in the first place literary, that is to say, personal and passionate."For more than half a century, Bloom has shared his profound knowledge of the written word with students and readers. In this, his most comprehensive and accessible study of influence, Bloom leads us through the labyrinthine paths which link the writers and critics who have informed and inspired him for so many years. The result is "a critical self-portrait," a sustained meditation on a life lived with and through the great works of the Western canon: Why has influence been my lifelong obsessive concern? Why have certain writers found me and not others? What is the end of a literary life?Featuring extended analyses of Bloom's most cherished poets—Shakespeare, Whitman, and Crane—as well as inspired appreciations of Emerson, Tennyson, Browning, Yeats, Ashbery, and others, The Anatomy of Influence adapts Bloom's classic work The Anxiety of Influence to show us what great literature is, how it comes to be, and why it matters. Each chapter maps startling new literary connections that suddenly seem inevitable once Bloom has shown us how to listen and to read. A fierce and intimate appreciation of the art of literature on a scale that the author will not again attempt, TheAnatomy of Influence follows the sublime works it studies, inspiring the reader with a sense of something ever more about to be.
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A richly insightful reading of the King James Bible as a literary masterwork, published for the text's 400-year anniversaryThe King James Bible stands at "the sublime summit of literature in English," sharing the honor only with Shakespeare, Harold Bloom contends in the opening pages of this illuminating literary tour. Distilling the insights acquired from a significant portion of his career as a brilliant critic and teacher, he offers readers at last the book he has been writing "all my long life," a magisterial and intimately perceptive reading of the King James Bible as a literary masterpiece.Bloom calls it an "inexplicable wonder" that a rather undistinguished group of writers could bring forth such a magnificent work of literature, and he credits William Tyndale as their fountainhead. Reading the King James Bible alongside Tyndale's Bible, the Geneva Bible, and the original Hebrew and Greek texts, Bloom highlights how the translators and editors improved upon—or, in some cases, diminished—the earlier versions. He invites readers to hear the baroque inventiveness in such sublime books as the Song of Songs, Ecclesiastes, and Job, and alerts us to the echoes of the King James Bible in works from the Romantic period to the present day. Throughout, Bloom makes an impassioned and convincing case for reading the King James Bible as literature, free from dogma and with an appreciation of its enduring aesthetic value.
- Nyhet
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A selection of the lively letters between one of the world’s greatest literary critics and the poets, novelists, and scholars he most admiredBringing together a collection of Harold Bloom’s letters to and from eight of his favorite contemporary writers, Heather Cass White provides an intimate view of one of the most famous literary critics of the last century. In correspondence with Alvin Feinman, Northrop Frye, A. R. Ammons, John Hollander, James Merrill, John Ashbery, Henri Cole, and Ursula K. Le Guin, we see Bloom developing his groundbreaking theory of poetic influence, transforming himself into a public intellectual, and reckoning with the meaning of his own legacy.While Bloom’s public persona was oracular, sure, and often combative, his letters are inquiring and provisional, revealing his overarching obsession with good writing. The presence of love, as the letters show, was always vital to how Bloom worked as a reader. Filled with delightful anecdotes and poignant observations, these letters—many of them published here for the first time—offer a new window onto twentieth-century letters and Bloom’s long and illustrious career.
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Del 42 - Charles Eliot Norton Lectures
Ruin the Sacred Truths
Poetry and Belief from the Bible to the Present
Häftad, Engelska, 1991
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“[Bloom] is the Satan of criticism...he is heroic even in those passages in which we are permitted to suspect that he may be a charlatan.”—Dennis Donoghue, New York Review of BooksThe most prodigious literary mind of his generation on the transcendent acts of self-creation that define the Western canon, from the Torah to Samuel Beckett.John Milton’s contemporary Andrew Marvell once confessed that reading Paradise Lost troubled his faith. Milton’s lyrical prowess was beyond doubt, but precisely because of his poetic genius Marvell feared “That he would ruin (for I saw him strong) / The sacred Truths to Fable and old Song.” If heaven, hell, and rebelling angels were reduced to fodder for the poet’s imagination, how could they remain objects of sincere religious belief? In this fascinating series of lectures, delivered at Harvard in 1987–1988, Harold Bloom confirms Marvell’s worst fear: all serious poets, Bloom argues, must ruin the sacred truths, unraveling cherished beliefs and literary traditions to create a world in their own image. From the earliest source documents of the Torah, written by a hypothetical author called the Yahwist or simply “J,” to the heretical reinterpretations of Judaism in Freud, Kafka, and Gershom Scholem, Bloom shows us how great authors construct the new by destroying the old. In the process they wrest divinity from the hand of the deity: Milton’s Satan, infinitely more complex and compelling than his God, embodies the author’s pursuit of humanity and literary greatness against the strictures of received religion; Wordsworth, prophet of nature, “celebrates his own godhood”; and Shakespeare’s characters, as much as the Bible’s, establish a ubiquitous and inescapable framework for representing the human personality.Brisk and impassioned, Ruin the Sacred Truths gives us Bloom in all his dimensions. Jewish Gnostic, reverent Freudian, and relentless proselytizer of the sublime, he was convinced, above all, that if salvation could be found anywhere, it would be in poetry.
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