Murray Krieger – författare

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Mr. Krieger attempts to extract a total mythology from Shakespeare's Sonnets and to use this mythology in their interpretation. Engaged in developing a poetics which will create a daring and inclusive view of poetry, he uses the metaphor of window and mirror to explore the implications of moving into a poem's closed context and outward to history and existence. Originally published in 1964. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Mr. Krieger attempts to extract a total mythology from Shakespeare's Sonnets and to use this mythology in their interpretation. Engaged in developing a poetics which will create a daring and inclusive view of poetry, he uses the metaphor of window and mirror to explore the implications of moving into a poem's closed context and outward to history and existence. Originally published in 1964. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In an earlier book Professor Krieger discussed the tragic vision as the confrontation with extremity-the writer's commitment to a master metaphor even as he acknowledges the incompleteness of that metaphor. The term "classic" is used here to indicate "the sense of restraint, of acceptance, of coming to terms with limitations self-imposed-as well as the awareness of the alternative one rejects in turning away from self-indulgence." The writer is thus viewed as one who accepts the common use of language while he endeavors to defy it through metaphor, one who accepts classically the common lot of man whereas his tragic impulse would lead him to reject it. Professor Krieger begins with the Renaissance lyric, which for him represents both the last moment of union and the first moment of collision between the classic and tragic visions in literature. He then moves through poems, novels, and a play, ranging in time from the eighteenth to the twentieth century, and delineates four kinds of retreat from extremity. In the works of Pope and Samuel Johnson he finds retreat through the worship of bloodless abstractions.The second form of retreat is the embrace of the natural human community, and the focus is on Wordsworth, George Eliot, Jane Austen, and Anthony Trollope. Through analyses of Sterne's Tristram Shandy, Robert Penn Warren's All the King's Men, and works by Swift, Professor Krieger demonstrates retreat through acceptance of the "human barnyard." The final form of retreat, through an alternative to sainthood, is shown in Faulkner's Light in August and T. S. Eliot's Murder in the Cathedral. In each case, Professor Krieger finds, by analyzing the pervading metaphor one is confronted with a counter-metaphor that mysteriously asserts itself: "The metaphors may have been unmetaphored, but they remain forms of imagination that constitute a reality, though it is now seen as imperfect. As such forms, the metaphors sustain us still. And that is perhaps the most classic notion of all."

First published in 1987, this rich variety of essays confronts the changes in theories of the text and textuality that have seen a shift in focus from the author as a controlling agent to the scene of writing itself and the historical forces that produce that scene.

The New Apologists for Poetry was first published in 1956. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.The author's purpose is to clear the ground for a systematic aesthetics of poetry consistent with the insights of our most influential contemporary literary critics. The book is concerned with those of the so-called "new critics" who are trying to answer the need, forced on them by historical and cultural pressures, to justify poetry by securing for it a unique function for which modern "scientism" cannot find a substitute.This volume provides intensive analyses of work by critics of several persuasions: T. E. Hulme, T. S. Eliot, I. A. Richards, John Crowe Ransom, Yvor Winters, Allen Tate, and Cleanth Brooks, and, for purposes of contrast, D. G. James, R. S. Crane, Elder Olson, and Max Eastman.Allen Tate, the poet and critic, writes: "Mr. Krieger's book is the most searching in scholarship and the most profound in critical analysis of the existing books in this field."Robert B. Heilman, critic and teacher, comments: "The author's knowledge of a complex field and his mastery of the analytical techniques which he is applying to a chosen set of critical positions are very impressive. He not only clarifies the positions of various contemporary critics by examining them in the light of the same set of general principles, but also provides some helpful, at times brilliant, insights into the works of various critics from the Greeks up to the present. He traces the history of concepts and thus establishes relationships among individual critics and critical schools."

Originally published in 1967. In The Play and Place of Criticism, Professor Krieger addresses basic questions related to criticism in the title essay that forms the introduction to this collection and that constitutes a considered statement of his "contextualist" position. In agreement with Spitzer, Krieger believes that the critic has a valuable part to play in relating the "new words" of the individual poem to the "old words" of the language. He goes further in identifying the role of the critic as essentially rhapsodic, a sharing-in and an expression of the poet's "fine frenzy," which, when it succeeds, transports the critic beyond words and dooms his analytical efforts to failure. Thus, while defending the critic's right to exercise "the free play of the mind" in approaching his subject, the author insists that the critic recognize his subordinate "place" in performing his act of mediation. Elsewhere in the volume Krieger uses other terms and metaphors to explore similar problems revolving around the mediate and the immediate in poetry and criticism. In calling for a poetry of "still movement," for example, he examines both the opposition and the union of temporal with spatial or plastically formal elements, of the dynamically empirical with the statically archetypal. Having defined his critical position in these ways, Krieger relates it to other schools of criticism and applies its methods to the analysis of works by Shakespeare, Pope, Arnold, Hawthorne, and others.

Originally published in 1973. Literary critics who have studied tragedy and the tragic vision failed, in Murray Krieger's estimation, to define exactly what they saw as the tragic vision in general terms. An aim of his book is to create a tentative definition of tragic and to flesh out what the author sees as the definition most illuminating of modern literature and the modern mind. In order to do this, Krieger distinguishes between what he sees as the "tragic vision" and "tragedy"—tragedy, from his perspective, is an object's literary form, whereas tragic vision refers to a subject's psychology, the subject's view and version of reality. In light of the shriveling of the tragic concept in the modern world and the reduction of a total view to the psychology of the protagonist, Krieger contends that the protagonist in a tragedy is now more appropriately designated a "tragic visionary" than a "tragic hero."

Originally published in 1992. What, in apparently pictorial poetry, do words represent? Conversely, how can words in a poem be picturable? Murray Krieger develops a systematic theoretical statement out of answers to such questions. Ekphrasis is his account of the continuing debates over meaning in language from Plato to the present. Krieger sees the modernist position as the logical outcome of these debates but argues that more recent theories radically question the political and aesthetic assumptions of the modernists and the two-thousand-year tradition they claim to culminate. Krieger focuses on ekphrasis—the literary representation of visual art, real or imaginary—a form at least as old as its most famous example, the shield of Achilles verbally invented in the Iliad. He argues that the "ekphrastic principle" has remained enduringly problematic in that it reflects the resistant paradoxes of representation in words. As he examines the conflict between the spatial and temporal, between vision-centered and word-centered metaphors, Krieger reveals how literary theory has been shaped by the attempts and the deceptive failures of language to do the job of the "natural sign."

Originally published in 1994. In The Institution of Theory, Murray Krieger examines, at once sympathetically and critically, the process by which theory has become institutionalized in the American academy and the consequences of theory as an academic institution. He traces the transformation of literary theory into critical theory and relates it to changes in the place of literature within questions about discourse at large. And he faces the costs as well as the gains of the recent denial of privilege to the literary. To support his view of the issues at stake in current theoretical debates, Krieger surveys both the history of American criticism and the general history of literary theory in the West. He sees divisions in each of them that foreshadow the current debates: in the first a conflict between the social and the aesthetic functions of literature, and in the second a conflict between the treatment of literature as a reflection of a culture's ideology and the treatment of literature as a subversion of that ideology. To what extent, he asks, are our debates new and to what extent are they merely refashioned versions of those we have always had?

Originally published in 1987. In Words about Words about Words, Murray Krieger advances his ongoing dialogue with the rich diversity of contemporary literary theory and elaborates on his own position as it grows out of an opposing relation to much of current criticism. Krieger examines the kinds of ideologies and ontologies smuggled into literary theory that purports to be anti-ideological and anti-ontological. He explores the extent to which critical fashions dictate the development of theory and the reasons why particular theories exclude certain kinds of literary works in favor of others. Under such circumstances, Krieger asks, What becomes of the critic's task of evaluation? Further, what is the relation of the idea of progress to criticism and the arts, and what is the effect of these notions on cultural and intellectual institutions? He seeks an alternative to the deterministic tendencies of the new historicism in viewing the relations of literature and literary criticism to society. Progressing from broad questions to more focused critical problems and close readings, Krieger reviews the aesthetic tradition as it has evolved from Kant. He engages in debate with deconstructionist critics about the role of symbol and allegory as descriptions of ways in which poems succeed or fail in constructing their verbal universe. And he argues that, for all its brilliance, deconstruction has not yet been able to fulfill the social or academic functions of the older, aesthetic-based disciplines that it set out to deconstruct.

Originally published in 1976. Representing years of critical reflection, The Theory of Criticism attempts to construct a poetics of "presence." Within a wide range of critical terminology, Murray Krieger has sought to create a new vision. In language that is passionate and often dramatic, he looks at the multidimensionality of the poetic world through the lens of Western poetics. His work clearly addresses itself to post–New Critical questions: how to preserve the literary object as a thing to be perceived, valued, and enjoyed and yet to account for its presence in, and interaction with, our culture as a whole, always in danger of being dissolved into man's language-making and -forming activity in general. Our awareness of the poem as object must be modified by our awareness that it is an "intentional" object. Krieger develops his balanced vision in three parts. Part 1 defines the problem and defends the very activity of theorizing both in its own terms and in terms of the critic's function throughout the history of Western criticism. By asking at the outset whether criticism is vain or valuable, Krieger already confronts the basic tension between system and world and the need to account for both. By creating a heuristic system that examines the possibility of form, the critic serves also the world of history and thought as a whole. Part 2 pursues that history from the classical encounter with mimesis in Greek thought to the Romantic and post-Romantic elevation of consciousness as a main criterion of poetic art. Defining a "humanistic aesthetic" as it has been viewed since Aristotle, the author shows how, during and after the eighteenth century, form was opened up under the impact of a Kantian and post-Kantian view, epitomized finally by Coleridge's imagination and its consequences for recent theorists. Part 3 deals with the image of the world struggling against its enclosure within a poetic context. It expands our view of metaphor as a reflection of the dual nature of poetic language, simultaneously locked into the poem and referring to history and nature outside. Our reading of the poem, Krieger concludes, must be double: we must see the poem as a linear and chronological sequence reflecting real life, and we must read it as a circular, imitative, mutually implicative mode.