Northrop Frye – författare

A landmark work of literary criticismNorthrop Frye's Anatomy of Criticism is the magnum opus of one of the most important and influential literary theorists of the twentieth century. Breaking with the practice of close reading of individual texts, Frye seeks to describe a common basis for understanding the full range of literary forms by examining archetypes, genres, poetic language, and the relations among the text, the reader, and society. Using a dazzling array of examples, he argues that understanding "the structure of literature as a total form" also allows us to see the profoundly liberating effect literature can have.

Frye maintains that Shakespeare's comedy is widely misunderstood and underestimated, and that the four romances--Pericles, Cymbeline, The Winter's Tale, and The Tempest--are the inevitable culmination of the poet's career.

Addressed to educators and general readers—the "consumers of literature" from all walks of life—this important new book explores the value and uses of literature in our time. Dr. Frye offers, in addition, challenging and stimulating ideas for the teaching of literature at lower school levels, designed both to promote an early interest and to lead the student to the knowledge and kaleidoscopic experience found in the study of literature. Dr. Frye's proposals for the teaching of literature include an early emphasis on poetry, the "central and original literary form," intensive study of the Bible, as literature, and the Greek and Latin classics, as these embody all the great enduring themes of western man, and study of the great literary forms: tragedy and comedy, romance and irony.

This philosophic inquiry into fundamental problems of literature and society is an immensely important addition to the canon of one of America's most original and distinguished critics. What is the function of poetry? Of criticism? In what sense does the poet "know"? What is the relationship between a society and its art? Northrop Frye conducts us on an illuminating survey of these and other broad philosophic issues and offers many incidental insights into specific cultural phenomena as well. Such matters as Marxist aesthetics, Renaissance humanism, the relation of poetry to religion, the idea of progress, and the challenge of our contemporary youth culture are among the dozen interesting topics that engage his attention along the way.Mr. Frye identifies two predominating ideologies in Western culture which he designates as the "myth of concern" and the "myth of freedom." A fully developed myth of concern, he writes, "compromises everything that it most concerns a society to know." Its purpose is to hold society together, hence its deeply conservative character. The "myth of freedom," on the other hand, embodies the "liberal" attitudes of objectivity and respect for the individual. The author traces the relative importance of these two myths from Homeric Greece to the present, relating them to the types of art and government they foster, the roles of the poet and critic, and many other topics. The final thesis of the two myths: "To maintain a free and mature society we have to become aware of the tension between concern and freedom, and the necessity of preserving them both."In relating literature to this dialect, Mr. Frye ranges through the entire history of Western philosophy and literature—from Plato to Heidegger, from Sir Philip Sydney to Bob Dylan—showing us that his inquiring mind has once again gone beyond the field of literature, narrowly conceived, into the wider region of the history of ideas. He regards the artist and critic in generous terms—as persons not insulated from society but involved in it in the most profound sense and so provides a unique study informed by intelligence, broad learning, and grace and precision of style.

This collection of a dozen major essays written in recent year is vintage Frye—the fine distillation of a lifetime of originative thinking about literature and its context. The essays in Spiritus Mundi—the title comes from one of Yeat's best known poems, "The Second Coming," and refers to the book that was supposedly the source of Yeat's apocalyptic vision of a "great beast, slouching toward Bethlehem"—are arranges in three groups of four essays each. The first four are about the "contexts of literature," the second are about the "mythological universe," and the last are studies of four of the great visionary or myth-making poets who have been enduring sources of interest for Frye: Milton, Blake, Yeats, and Wallace Stevens.The volume is full of agreeable surprises: a delightful piece on charms and riddles is followed by an illuminating essay on Shakespearean romance. Like most of the other essays in the book, these two are compressed and elegant expositions of ideas that in the hands of a lesser writer would have required a book. In another selection Frye rescues Spengler from neglect and argues for the inclusion of The Decline of the West among the major imaginative books produced by the Western world. Elsewhere he advances the case for placing Copernicus in a pantheon composed primarily of literary figures. OF particular interest are several essays in which Frye comments personally and reflectively on the influence he has had on the study of literature and the reactions elicited by his work. In "The Renaissance of Books" he dissents from the opinion of the McLuhanites that the written word is showing signs of obsolescence and argues that books are "the technological instrument that makes democracy possible."As the dozen essays collected here amply attest, Northrop Frye continues to be the most perceptive and most persuasive exponent of the power of mythological imagination—or as he himself calls it, "the mythological habit of mind"—written in English.

First published in 1970, this collection is made up of a selection of essays composed between 1962 and 1968, written by distinguished humanist and literary critic Northrop Frye. The book is divided into two parts: one deals largely with the contexts of literary criticism; the other offers more specific studies of literary works in roughly historical sequence. One of the essays is Frye’s own elucidation of the development of his critical premises out of his early concern with the poetry of William Blake. Taken together, the essays offer a continuous and coherent argument, making a whole that is entirely equal to the sum of its parts.

First published in 1970, this collection is made up of a selection of essays composed between 1962 and 1968, written by distinguished humanist and literary critic Northrop Frye. The book is divided into two parts: one deals largely with the contexts of literary criticism; the other offers more specific studies of literary works in roughly historical sequence. One of the essays is Frye’s own elucidation of the development of his critical premises out of his early concern with the poetry of William Blake. Taken together, the essays offer a continuous and coherent argument, making a whole that is entirely equal to the sum of its parts.

“The most sophisticated study of popular culture, considered on a world scale, that we have yet had.”—New RepublicThe acclaimed author of Anatomy of Criticism on the role of romance as a literary genre in Western culture. At a time when literary criticism was dominated by close reading of individual works, Northrop Frye’s sweeping, millennia-spanning investigations of the recurring symbols and archetypes that shape our literary traditions made him one of the most influential critics of his generation. Here, Frye brings his encyclopedic knowledge to bear on romance, a genre whose tropes have echoed through Western literature since the Homeric epics.With its shipwrecks and magic potions, its plots of mistaken identity and the rescue of maidens in distress, romance has often been deemed unworthy of serious critical attention. Critics praise other aspects of The Odyssey or The Faerie Queene, for example, while forgiving the authors’ indulgence in childishly romantic plots. For Frye, however, romance is far more than a puerile form of escapism. Rather, it constitutes a vital mythological universe, a “secular scripture” whose hero is man, paralleling the sacred scripture whose hero is God. Its plot elements—the descent into a lower world or escape into a higher one, the discovery of true identity and the breaking of enchantment, the quest where the end is the beginning transformed—form nothing less than “the structural core of all fiction.” Drawing freely from an enormous range of sources, from Dante and Milton to Lewis Carroll, from fairy tales to dime novels, The Secular Scripture ultimately argues that the Word of God and the word of man are cut from the same cloth. By recovering our own human mythologies, appreciating them in all their artifice, we can, like God in Genesis, look over the vast romance we have created and see that it is good.

This brilliant outline of Blake's thought and commentary on his poetry comes on the crest of the current interest in Blake, and carries us further towards an understanding of his work than any previous study. Here is a dear and complete solution to the riddles of the longer poems, the so-called "Prophecies," and a demonstration of Blake's insight that will amaze the modern reader. The first section of the book shows how Blake arrived at a theory of knowledge that was also, for him, a theory of religion, of human life and of art, and how this rigorously defined system of ideas found expression in the complicated but consistent symbolism of his poetry. The second and third parts, after indicating the relation of Blake to English literature and the intellectual atmosphere of his own time, explain the meaning of Blake's poems and the significance of their characters.

The landmark book that situates Blake’s poetry within the intellectual movements of his day and unlocks his symbolism for modern readersSince it was first published, Northrop Frye’s Fearful Symmetry has established itself as the defining commentary on the poetic vision of William Blake. Frye gives a complete solution to the riddles of Blake’s longer poems—the so-called “Prophecies”—and demonstrates how Blake’s works form a coherent mythical pattern that broadens our conception of literature. He explains how Blake arrived at a theory of knowledge that was also, for him, a theory of religion, life, and art, and how this rigorously defined system of ideas found expression in the complicated but consistent symbolism of his poetry. With an incisive foreword by scholar and literary critic Nicholas Halmi, this Princeton Classics edition shows how Blake reflects the literary and the intellectual atmosphere of his time while holding renewed meaning for us today.

Presented here is a selection from the professional and personal correspondence of Northrop Frye, one of the preeminent literary critics of the last century. With frank and accessible appraisals, the letters reveal Frye's attitudes toward scores of topics: the value of James Bond thrillers, the gap between faith and reason, surrealism, hippies, Milton's imagery, comparative literature, political hysteria in the U.S., the nature of the educated imagination, anarchism, the teaching of religion in the university, the Proteus myth, the distinction between subjects and themes, the connection between Nietzsche and Yeats, the difference between cliche and aphorism, the fussy rules of copy editors, and scores of other issues.

Robert D. Denham has collected in these volumes the 266 letters, cards, and telegrams that Helen Kemp and Northrop Frye wrote to each other during the six periods when they were apart, from the winter of 1931-32 until the summer of 1939. The letters form a compelling narrative of their early relationship. They tell of a romance in which two people fall in love, want to get married, and are confronted with obstacles blocking their path, including lack of money and the education they both need to advance their careers. But the story is much more than a romance. The letters reveal Frye's early talent as a writer, illustrating that both the matter and the manner of his criticism had begun to take shape when he was only nineteen. Helen Kemp's expressiveness and intelligence come through clearly in her letters, which were only discovered in 1992. Kemp and Frye share their thoughts on literature, music, religion, politics, education, and a host of other topics. They discuss their alma mater, Victoria College; artists and musicians of Toronto; southwestern Saskatchewan, where Frye spent a summer as a pastor on a United Church circuit; Frye's hometown, Moncton, New Brunswick; and Kemp's neighbourhood on Fulton Avenue in Toronto. We travel with them around the world, from Ottawa to Rome. We see through their eyes the early years of the Co-operative Commonwealth Federation, the struggles of the United Church of Canada, the activities of the Student Christian Movement, the appeal of Communism, the rise of fascism, and the beginnings of art education in the galleries of Canada.

Robert D. Denham has collected in these volumes the 266 letters, cards, and telegrams that Helen Kemp and Northrop Frye wrote to each other during the six periods when they were apart, from the winter of 1931-32 until the summer of 1939. The letters form a compelling narrative of their early relationship. They tell of a romance in which two people fall in love, want to get married, and are confronted with obstacles blocking their path, including lack of money and the education they both need to advance their careers. But the story is much more than a romance. The letters reveal Frye's early talent as a writer, illustrating that both the matter and the manner of his criticism had begun to take shape when he was only nineteen. Helen Kemp's expressiveness and intelligence come through clearly in her letters, which were only discovered in 1992. Kemp and Frye share their thoughts on literature, music, religion, politics, education, and a host of other topics. They discuss their alma mater, Victoria College; artists and musicians of Toronto; southwestern Saskatchewan, where Frye spent a summer as a pastor on a United Church circuit; Frye's hometown, Moncton, New Brunswick; and Kemp's neighbourhood on Fulton Avenue in Toronto. We travel with them around the world, from Ottawa to Rome. We see through their eyes the early years of the Co-operative Commonwealth Federation, the struggles of the United Church of Canada, the activities of the Student Christian Movement, the appeal of Communism, the rise of fascism, and the beginnings of art education in the galleries of Canada.

Eradicating once and for all the unfounded notion that Frye was not a political writer, this eleventh volume in the Collected Works of Northrop Frye gathers together all of Northrop Frye's writings on politics, culture, the arts, history, literature, mass media, and music.Written between 1934 and 1986, these collected works illustrate the extent of Frye's engagement with the unfolding events of twentieth-century political life, from the Great Depression to the Reagan / Thatcher / Mulroney era. The centrepiece of the volume, Frye's learned and wide-ranging contribution to the Canadian confederation celebrations, The Modern Century (1967), is accompanied by pieces that reflect Frye's observations on such diverse political events as the Oxford 'King and Country' debate and the Vietnam war, revealing Frye the literary theorist as Frye the political entity. Jan Gorak's extensive introduction and annotations serve to historicize Frye and situate him and his work in the historical and critical context of twentieth-century Canada and North America. Frye's work is discussed in relation to that of T.S. Eliot, Edmund Wilson, Raymond Williams, Marshall McLuhan, Harold Innis, E.J. Pratt, A.J.M. Smith, F.A. Underhill, J.S. Woodsworth, George Grant, and especially Oswald Spengler. Erudite and enlightening, Frye's comments on politics are as relevant today as they were when he wrote them, and this volume will be a valuable reference for understanding the essential Frye.

Northrop Frye’s The Secular Scripture was first published in 1976 and was soon recognized as one of his most influential works, reflecting an extensive development of Frye’s thoughts about romance as a literary form. This new edition in the Collected Works of Northrop Frye series brings The Secular Scripture together with thirty shorter pieces pertaining to literary theory and criticism from the last fifteen years of Frye’s life.Frye’s study illuminates the enduring attraction and deep human significance of the romance genre in all its forms. He provides a unique perspective on popular fiction and culture and shows how romance forms have, by their very structural and conventional features, an ability to address both specific social concerns and deep and fundamental human concerns that span time and place. In distinguishing popular from elite culture, Frye insists that they are both ultimately two aspects of the same “human compulsion to create in the face of chaos.” The additional late writings reflect Frye’s sense at the time that he was working “toward some kind of final statement,” which eventually saw the light of day, only months before his death, as Words with Power (1990).

In the Alexander Lectures for 1965-66 at the University of Toronto, Dr. Frye describes the basis of the tragic vision as "being in time," in which death as "the essential event that gives shape and form to life ... defines the individual, and marks him off from the continuity of life that flows indefinitely between the past and the future."In Dr. Frye's view, three general types can be distinguished in Shakespearean tragedy, the tragedy of order, the tragedy of passion, and the tragedy of isolation, in all of which a pattern of "being in time" shapes the action. In the first type, of which Julius Caesar, Macbeth, and Hamlet are examples, a strong ruler is killed, replaced by a rebel-figure, and avenged by a nemesis-figure; in the second, represented by Romeo and Juliet, Anthony and Cleopatra, and Troilus and Cressida, authority is split and the hero is destroyed by a conflict between social and personal loyalties; and in the third, Othello, King Lear, and Timon of Athens, the central figure is cut off from his world, largely as a result of his failure to comprehend the dynamics of that world. What all these plays show us, Dr. Frye maintains, is "the impact of heroic energy on the human situation" with the result that the "heroic is normally destroyed ... and the human situation goes on surviving."Fools of Time will be welcomed not only by many scholars who are familiar with Dr. Frye's keen critical insight but also by undergraduates, graduates, high-school and university teachers who have long valued his work as a means toward a firmer grasp and deeper understanding of English literature.

Hailed as a landmark in Canadian literary scholarship when it was originally published in 1965, the Literary History of Canada is now being reissued, revised and enlarged, in three volumes. This major effort of a large group of scholars working in the field of English-language Canadian literature provides a comprehensive, up-to-date reference work. It has already proven itself invaluable as a source of information on authors, genres, and literary trends and influences. It represents a positive attempt to give a history of Canada in terms of writings which deserve attention because of significant thought, form, and use of language.Volume I comprises Parts I to III of the original edition, and covers the years from the beginning of Canadian literature in English to about 1920.The contributors to this volume are David Galloway, Victor G. Hopwood, Alfred G. Bailey, Fred Cogswell, James and Ruth Talman, Carl F. Klinck, Edith Gordon Roper, Rupert Schieder, S. Ross Beharriell, Brandon Conron, Elizabeth Waterston, Alec Lucas, John A. Irving, A.H. Johnson, A. Vibert Douglas, and Frank W. Watt.

Hailed as a landmark in Canadian literary scholarship when it was originally published in 1965, the Literary History of Canada is now being reissued, revised and enlarged, in three volumes. This major effort of a large group of scholars working in the field of English-language Canadian literature provides a comprehensive, up-to-date reference work. It has already proven itself invaluable as a source of information on authors, genres, and literary trends and influences. It represents a positive attempt to give a history of Canada in terms of writings which deserve attention because of significant thought, form, and use of language.Volume 2, a revision of Part IV of the original edition, covers the period from about 1920 to 1960.The contributors to this volume are Desmond Pacey, William Kilbourn, Henry B. Mayo, Millar MacLure, John Webster Grant, Thomas A. Goudge, Elizabeth Waterston, Brandon Conron, Jay Macpherson, Sheila A. Egoff, Michael Tait, Hugo McPherson, Munro Beattie, and Northrop Frye.

Hailed as a landmark in Canadian literary scholarship when it was originally published in 1965, the Literary History of Canada is now being reissued, revised and enlarged, in three volumes. This major effort of a large group of scholars working in the field of English-language Canadian literature provides a comprehensive, up-to-date reference work. It has already proven itself invaluable as a source of information on authors, genres, and literary trends and influences. It represents a positive attempt to give a history of Canada in terms of writings which deserve attention because of significant thought, form, and use of language.Volume 3 has been newly written for this edition of the History, and covers the years from about 1960 to 1974.The contributors to this volume are Claude Bissell, Desmond Pacey, Lauriat Lane, jr, Michael S. Cross, Thomas A. Goudge, John Webster Grant, John H. Chapman, William E. Swinton, Henry B. Mayo, Malcolm Ross, Brandon Conron, Clara Thomas, Sheila A. Egoff, John Ripley, William H. New, George Woodcock, and Northrop Frye.

"I am talking about Milton because I enjoy talking about Milton," This statement made by Northrop Frye at the beginning of The Return of Eden sets the tone for the entire book. Presented informally, it is filled with the vast learning and demonstrates the imaginative magnitude we have come to expect of this distinguished critic: the brilliant argument and the pleasantly witty presentation will inform and delight.The first four essays in the volume deal with Paradise Lost. Frye discusses the form and tradition of the epic, the rôle of the Son of God, a construction of the cosmology of the poem as a framework for its imagery, the reasons for Milton's presentation of the behaviour of Adam and Eve (and by analogy of human society) before and after the fall. He also deals with Milton as a revolutionary who, disillusioned with the failure of the English people a free commonwealth, was finally compelled to find the true revolution within the individual. These four chapters are based on the Centennial Lecture Series which marked the one-hundredth anniversary of Huron College, University of Western Ontario.The fifth essay in the book, "Revolt in the Desert," discusses the structure and content of Paradise Regained.

Here Professor Frye analyses the way in which the structure and imagery of literature have been affected by the complex of ideas and images surrounding the word 'creation.' Traditionally, everything associated with nature, reality, settled order, the way things are, is supposed to go back to the creation, the original divine act of making the world. If the word 'creative' is applied to human activities, the humanly creative is whatever profoundly disturbs our sense of 'the' creation, a reversing or neutralizing of it. What seems to be one of the few admirable forms of human achievement, the creation of the arts, turns out to be a kind of 'decreation.'The imagery of creation lies at the heart of every mythology and every development of the arts, though Professor Frye distinguishes between the stories of creation that look up to heaven and those that look down to earth. To these he contrasts human creativity, which is projected on the future, and recorded in various forms of the arts ranging from pastoral poetry to architecture. It is this counter-movement of creation set up by man, as reflected particularly in literature, that he calls 'recreation.'Originally delivered as the 1980 Larkin-Stuart Lectures, this book provides an intriguing and provocative insight into the notion of creation and of the relationship in creativity between the human and the divine.

In these essays Northrop Frye addresses a question which preoccupied him throughout his long and distinguished career – the conception of comedy, particularly Shakespearean comedy, and its relation to human experience.In most forms of comedy, and certainly in the New Comedy with which Shakespeare was concerned, the emphasis is on moving towards a climax in which the end incorporates the beginning. Such a climax is a vision of deliverance or expanded energy and freedom. Frye draws on the Aristotelian notion of reversal, or peripeteia, to analyse the three plays commonly known as the 'problem comedies': Measure for Measure, All's Well That Ends Well, and Troilus and Cressida, showing how they anticipate the romances of Shakespeare's final period.

In the 1970s and 80s, Northrop Frye and Jay Macpherson co-taught a very influential course at the University of Toronto's Victoria College on the history of Western mythology - Frye focusing on the biblical myths; Macpherson on the classical. Biblical and Classical Myths recreates the thought behind that course, with Frye's lectures - unpublished until very recently - supplemented by Macpherson's popular 1962 textbook on classical mythology, Four Ages: The Classical Myths.Frye's lectures on the Bible make up the first half of the book. He expounds on an array of topics, including translations of the bible, sexual imagery, pastoral and agricultural imagery, and law and revolution in the bible. Four Ages makes up the second half. Macpherson narrates the major classical myths from stories of creation to the myths' survival in later European traditions.By complementing the biblical tradition with the classical, this volume imparts a comprehensive understanding of western mythology. With a preface by Alvin Lee, general editor of the Collected Works of Northrop Frye, Biblical and Classical Myths is an essential volume and represents a unique achievement in scholarship.

Words with Power is the crowning achievement of the latter half of Northrop Frye's career. Portions of the work can be found in Frye's notebooks as far back as the mid-1960s when he had just finished Anatomy of Criticism, and he completed the book shortly before his death in 1991. Beyond summing up his ideas about the relation of the Bible to Western culture, Words with Power boldly confronts a host of questions ranging from the relationship between literature and ideology to the real meaning of words like 'spirit' and 'faith.' The first half of the 'double mirror' structure looks at the language in which the Bible is written, arguing that it is identical to that of myth and metaphor. Frye suggests, therefore, that given this characteristic, the Bible should be read imaginatively rather than historically or doctrinally. However, he is also careful to point out the ways in which the Bible is more than a conventional work of fiction. The second half is an astonishing tour de force in which Frye demonstrates how both the Bible and literature revolve around four primary concerns of human life.This edition goes beyond the original in its documentation of Frye's dazzlingly encyclopedic range of reference. Profound and searching, Words with Power is perhaps the most daring book of Frye's career and one of the most exciting.

This thirteenth and final volume of previously unpublished writings by Northrop Frye gathers together autobiographical reflections, short stories, an unfinished novel, and commentary on a wide range of topics from Canadian culture to religion. Drawn from holdings in the Frye archives – holograph notebooks, typed notes, and typescripts – these writings have been largely inaccessible to Frye scholars until now.Some of the contents of this volume, Frye’s early fiction, for example, will come as a surprise to those acquainted primarily with his published criticism. All of his fables and dialogues are included here, as are a half-dozen sets of notes in which he speculates on forms of fiction and various literary projects he planned to one day undertake. These miscellaneous writings offer further evidence of Frye’s fertile mind, quick wit, expansive imagination, and eloquence. Frye always claimed that the process of writing was for him a search for proper formulas through which to communicate. The material in this volume, which seldom fails to instruct and delight, discloses the process of that search.