Princeton Essays in Literature – serie

Fredric Jameson's survey of Structuralism and Russian Formalism is, at the same time, a critique of their basic methodology. He lays bare the presuppositions of the two movements, clarifying the relationship between the synchronic methods of Saussurean linguistics and the realities of time and history.

In this book Robert Pinsky writes about contemporary poetry as it reflects its modernist and Romantic past. He isolates certain persistent ideas about poetry's situation relative to life and focuses on the conflict the poet faces between the nature of words and poetic forms on one side, and the nature of experience on the other. The author ranges for his often surprising examples from Keats to the great modernists such as Stevens and Williams, to the contents of recent magazines. He considers work by Ammons, Ashbery, Bogan, Ginsberg, Lowell, Merwin, O'Hara, and younger writers, offering judgments and enthusiasms from a viewpoint that is consistent but unstereotyped. Like his poetry, Robert Pinsky's criticism joins the traditional and the innovative in ways that are thoughtful and unmistakably his own. His book is a bold essay on the contemporary situation in poetry, on the dazzling achievements of modernism, and on the nature or "situation" of poetry itself.

A groundbreaking critical introduction to Structuralism and Russian Formalism by the acclaimed literary theoristIn The Prison-House of Language, Fredric Jameson, one of the most important literary and cultural critics of the twentieth and twenty-first centuries, provides a thorough historical and philosophical introduction to Structuralism and Russian Formalism. Combining a survey of these influential critical movements and a critique of their methodology, Jameson lays bare their presuppositions, questioning whether the methods of Saussurean linguistics can adequately capture the concrete realities of time and history. The result is a unique and thought-provoking confrontation of two major strands of modern thought and a central work in the development of Jameson’s monumental critical project.

“Robert Pinsky belongs to that rarest category of talents, a poet-critic.”—Robert LowellTwo important books of criticism by the Pulitzer Prize finalist and former U.S. poet laureate—now combined in a single volume with a new preface by the authorFor Robert Pinsky, poetry’s individual, human scale as a fundamentally vocal medium—with poems brought to life by one person at a time—gives poetry a unique importance in American and democratic culture and society. This book brings together two compelling works of criticism by the former poet laureate—The Situation of Poetry and Democracy, Culture and the Voice of Poetry, in which he makes a passionate and eloquent case for the vital role of poetry in a democracy.

Although Rene Char's distinctive voice has brought him to the forefront of contemporary French writers; his complex poetry has remained virtually inaccessible to the general reader. In this book an eminent authority on French literature describes Char's evolution and, through close readings, offers a clear and rewarding introduction to the poet's /uvre. James Lawler first traces Char's growth by delineating the myth that has guided his poetry for forty years. While the Surrealists exerted an early influence on the writer, his work diverged from theirs as he gave voice to a more personal attitude toward nature and art, to a refashioned poetics and thought. The author shows how Char's development culminates in the visionary symbolism of La Paroi et la Prairie, in which wall and prairie epitomize the unresolved tension of his mature writings. Throughout his readings, Professor Lawler supplements close textual analysis with consideration of thematic, mythological, and moral elements of the poetry, discussing each aspect as it illuminates the nature of Char's sensibility."The ten short poems [of La Paroi et la Prairie] are typical of their author," he writes, "and paradigmatic of a work that is a summit of French poetry since Valery and Apollinaire." Originally published in 1978. 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.

Thomas Hart examines Erich Auerbach's contention that Don Quixote is not a tragedy but a comedy and suggests that Auerbach's view was shaped by his reading of Ariosto's chivalric romance Orlando furioso. At the same time Hart argues that neither Don Quixote nor Orlando furioso is so free from political intention as Auerbach believed they were. He demonstrates that Cervantes shared not only Ariosto's attachment to the moral code of chivalry but also his doubts that it could be practiced effectively in the contemporary world. Originally published in 1989. 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.

Seeing Flannery O'Connor in the company of poets, rather than realistic prose writers, this work shows how she uses recurring figures of speech to transform or re-create the external world. Originally published in 1986. 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.

By making his argument about In Memoriam a continuous argument for it, Timothy Peltason brings to light a wider appreciation of its greatness and of its central place in the history of modern poetry. Originally published in 1986. 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.

Eugene Goodheart's remarkably compact and penetrating analysis examines the skeptic disposition that has informed advanced literary discourse over the past generation. Originally published in 1985. 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.

During the last sixty to seventy years avant-garde poetry in France has evolved in two directions: one toward poetry conceived as a means to an end, the other toward poetry as an end in itself. Focusing on Pierre Reverdy, Francis Ponge, Rene Char, Andre du Bouchet, Jacques Dupin, and Marcelin Pleynet as the modern French poets who most faithfully reflect these directions, Robert Greene's chronological study allows us to follow the two-pronged evolution of French poetry since 1910. Situating his argument in a detailed historical context and basing it on comparisons with artistic movements and the poets' own writings on art, and on extended analyses of selected representative poems, the author is able to establish a new intellectual-historical perspective on contemporary poetry. Professor Greene finds that whereas Reverdy, Char, du Bouchet, and Dupin all embrace a conception of poetry as quest, as a search for the absolute, as the Way of beauty or truth, Ponge and Pleynet hold to a view of poetry as jete, as a celebration of the relative, as the play and display of language in action.What knits them together, he concludes, is the way in which each poet sums up his era as a stage in the development of twentieth-century French poetry. Originally published in 1979. 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.

Jerome Mazzaro examines Dante's Vita Nuova as an artistic correlative to what Dante conceived as an image of himself. Specifically, he explores the structure of the work in relation to medieval views of memory, self, music, form, and interpretation, and against the facts of Dante's life and culture as we have come to know them. Originally published in 1981. 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.

Barton Freidman demonstrates that, as a cycle, the Cuchulain plays form a paradigm of Yeats's dramatic career. They trace his progress, the author contends, toward finding a genuine dramatic mode, and examination of this process reveals much about a playwright whose work is simultaneously great literature and extaordinarily effective theater. In his interpretation of the Cuchulain cycle the author concentrates upon dramatic method. He examines first the evolution of Yeats's dramatic aesthetic and his attempts to translate it into practice. He then treats each play of the cycle in order of composition, moving from On Baile's Strand, of which the first version was begun in 1901, to The Death of Cuchulain completed in 1939. Deirdre is included, since it demonstrably belongs to the cycle.Professor Freidman discusses not only the plays in their final form but, in crucial instances, Yeats's revisions of them, which frequently illuminate his dramatic designs. In the cases of The Green Helmet and The Only Jealous of Emer, he considers as well as their alternative versions, The Golden Helmet and Fighting the Waves. The analysis draws on Yeats's poetry and his theories of history, mythology, and art, and it shows that Yeats succeeds where his Romantic precursors had failed, in finding ways of staging "the deeps of the mind."Barton R. Friedman is Associate Professor of English at the University of Wisconsin.Originally published in 1977.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.

Studying the nature of symbol in Coleridge's work, Father Barth shows that it is central to Coleridge's intellectual endeavor in poetry and criticism as well as in philosophy and theology. He finds symbol to be an essentially religious reality for Coleridge, one that partakes of the nature of a sacrament, especially sacrament as an encounter between material and spiritual reality. Father Barth notes that eighteenth-century poetry was by and large a poetry of metaphor rather than of symbol, a poetry of reference rather than of encounter. In close readings of the poetry of Wordsworth and Coleridge, he shows how they practiced and developed the poetry of symbol. Finally, analyzing the symbolic imagination, the author concludes that it is a phenomenon profoundly linked with the experience of Romanticism itself and with a fundamental change in religious sensibility. Originally published in 1977. 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.

A poet's tradition provides him with a sense of community that may be regarded as a necessary condition for poetry. Jenijoy La Belle, who studied with Roethke, here describes the cultural tradition that he defined and created for himself. In so doing, she demonstrates how an understanding of Roethke's sources and the influences on his work is essential for its interpretation. The author considers the sources of Roethke's poetry and the influence on him of a wide circle of poets including T. S. Eliot, Yeats, Whitman, Wordsworth, Smart, Donne, Sir John Davies, and Dante. In addition, she traces the changes in Roethke's response to his literary past as he moves from his early lyrics to his final sequences. His imitation of selected poets began as a conscious effort but later became a basic component of his imaginative faculties, encompassing an historical attitude and a psychological state. Originally published in 1976. 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.

This book interprets Mon Faust and explores the differences between Valery's and Goethe's treatments of the Faust figure. The author shows by close analysis how Valery opposes a Cartesian, anti-Pascalian Faust to Goethe's romantically flawed hero. The title of the project conceived by Valery's Faust, The Mind's Body-part autobiography, part metaphysical treatise-embodies the Cartesian dilemma ironically illustrated by the Mon Faust fragments: the misfortunes of the thinking essence, the cogito, in its subjugation to the body. The first three chapters examine the Cartesian character of a Faust engaged in superhuman but vain attempts to reconcile the intellect and the libido. A fourth chapter discusses the differences between Goethe's and Valery's protagonists and as well between Goethe and his Faust. Throughout the book the author explores Valery's linguistic experimentation, which, through charades, paranomasia, onomastics, and etymological puns, brings into full play the mystifying and mythologizing aspects of language. To resolve the stylistic problems associated with this fragmentary work the author adapts the tone of his exegesis to the diverse stylistic levels of Mon Faust.His analysis illuminates the Cartesian potential inherent in Valery's protagonist. Originally published in 1976. 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.

The dramatic political struggle of Boris Pasternak and the continued success of his novel. Dr. Zhivago, have often taken center stage in discussions of this writer. Olga Raevsky Hughes chooses instead to focus on the aesthetics underlying Pasternak's snuggles and successes to explore the ways in which his views of art and the artist were applied in his writings. Professor Hughes examines those aspects of Pasternak's views on art that he himself considered crucial: the beginnings of poetry in his life, the relation of his art to life, his relationship to his time, and his responsibility to lite and to society. Pasternak's views on art are analyzed as he himself saw them in his autobiographies, critical essays, and letters; and also as they were reflected in his work. Pasternak is allowed to speak for himself: accordingly, all of his published works are used, including letters, little-known works, and available variants of his early poems. Originally published in 1975. 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.

The search for a substitute for religion, Adalaide Kirby Morris argues, occupies Stevens' poetic energy from his earliest to his latest work. It emerges in his patterns of speech, in his symbols, and in his poetic forms; it encompasses a critique of Christianity, often wryly humorous and sometimes bitterly satiric; and it results in a theory of poetry that becomes a mystical theology. At the center of this mystical theology, the author finds, is the conviction that God and the imagination arc one. The study concludes that poetry provides for Stevens a sanction, a solace, a form of order, a source of delight, and a means of redemption through which men arc saved, and natural fact is transformed into divine force. Originally published in 1974. 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.

Michel Benamou's essays have established his reputation as a critical interpreter of Stevens' relation to the French poetic tradition. Mr. Benamou has now collected these essays in one volume, revising and expanding them, and has added a general introduction. He discusses, in turn, Stevens' affinities with and differences from Baudelaire, Laforgue, Mallarme, Apollinaire, the Impressionists, and the Cubists. Originally published in 1972. 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.

Although Hofmannsthal never completed his only novel Andreas, its theme--the quest for self through memory--haunted the Viennese writer and recurs again and again in his poems, libretti, and essays. Analyzing the fragment, David Miles discusses Hofmannsthal's understanding of memory and myth, Andreas' pivotal role in his work, and its place within the tradition of such novels as Goethe's Wilhelm Meister and Rilke's Malte. Originally published in 1972. 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.

Five experts present their viewpoints on four of the most important figures in recent intellectual and cultural history. Professor Egon Schwarz evaluates Hofmannsthal as a critic; Professors C. V. Bock and Lother Helbing combine forces in an analysis of Gundolf; Professor Yakov Malkiel has provided an evocative, ornately styled document luimain on Kantorowicz; Professor Evans presents the first substantial study of Curtius. The combined insight of the authors gives us a new and better understanding of these cultural figures, their associations with and influences on each other, and the broad impact they still have. Originally published in 1970. 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.

Seeing Flannery O'Connor in the company of poets, rather than realistic prose writers, this work shows how she uses recurring figures of speech to transform or re-create the external world. Originally published in 1986. 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.

Drawing on the entire corpus of Coleridge's prose, Emerson Marks shows how the poet's rationale was grounded in the mimetic theory that informed his distinction between a copy and an imitation which Coleridge himself labeled the universal principle of the fine arts." Originally published in 1981. 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.

Of the three texts of King Lear--the Quarto version printed in 1608, the Folio edition of 1623, and the modern composite of these two early texts--it has been assumed that both the Quarto and Folio versions arc distortions of an unblemished original" now lost and that only the modern text accurately approaches Shakespeare's lost original manuscript. Steven Urkowitz argues to the contrary that the Quarto and Folio are simply different stages of Shakespear's writing--an early draft and a final revision--and that they reveal much about his process of composition. Originally published in 1980. 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.

Eugene Goodheart's remarkably compact and penetrating analysis examines the skeptic disposition that has informed advanced literary discourse over the past generation. Originally published in 1985. 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.

During the last sixty to seventy years avant-garde poetry in France has evolved in two directions: one toward poetry conceived as a means to an end, the other toward poetry as an end in itself. Focusing on Pierre Reverdy, Francis Ponge, Rene Char, Andre du Bouchet, Jacques Dupin, and Marcelin Pleynet as the modern French poets who most faithfully reflect these directions, Robert Greene's chronological study allows us to follow the two-pronged evolution of French poetry since 1910. Situating his argument in a detailed historical context and basing it on comparisons with artistic movements and the poets' own writings on art, and on extended analyses of selected representative poems, the author is able to establish a new intellectual-historical perspective on contemporary poetry. Professor Greene finds that whereas Reverdy, Char, du Bouchet, and Dupin all embrace a conception of poetry as quest, as a search for the absolute, as the Way of beauty or truth, Ponge and Pleynet hold to a view of poetry as jete, as a celebration of the relative, as the play and display of language in action.What knits them together, he concludes, is the way in which each poet sums up his era as a stage in the development of twentieth-century French poetry. Originally published in 1979. 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.

We are often told that Shakespeare is our contemporary, yet we insist just as often on the Elizabethan quality of his work as it reflects a culture remote from our own. Beginning with this paradox, Howard Felperin explores the question of modernity in literature. He directs his attention toward several older poets and examines Shakespeare in particular to show how literary modernity depends, not on chronological considerations, but on the process of mimesis, or imitation, that art has traditionally claimed for itself. In analyzing Shakespeare's major tragedies, Professor Felperin notes that each carries within it a model of its dramatic prototypes, and therefore requires a conservative response from its interpreters. In the interest of being truer to life than its model, however, each play departs from that model and so requires a Romantic or modernist response as well. The author contends that Shakespeare's meaning arises from this ambivalent relation to the forms of the past. Originally published in 1978.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.

Jerome Mazzaro examines Dante's Vita Nuova as an artistic correlative to what Dante conceived as an image of himself. Specifically, he explores the structure of the work in relation to medieval views of memory, self, music, form, and interpretation, and against the facts of Dante's life and culture as we have come to know them. Originally published in 1981. 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.

A poet's tradition provides him with a sense of community that may be regarded as a necessary condition for poetry. Jenijoy La Belle, who studied with Roethke, here describes the cultural tradition that he defined and created for himself. In so doing, she demonstrates how an understanding of Roethke's sources and the influences on his work is essential for its interpretation. The author considers the sources of Roethke's poetry and the influence on him of a wide circle of poets including T. S. Eliot, Yeats, Whitman, Wordsworth, Smart, Donne, Sir John Davies, and Dante. In addition, she traces the changes in Roethke's response to his literary past as he moves from his early lyrics to his final sequences. His imitation of selected poets began as a conscious effort but later became a basic component of his imaginative faculties, encompassing an historical attitude and a psychological state. Originally published in 1976. 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.

This book-length treatment of Gyorgy Lukacs' major achievement, his Marxist aesthetic theories. Working from the thirty-one volumes of Lukacs' works and twelve separately published essays, speeches, and interviews, Bela Kiralyfalvi provides a full and systematic analysis for English-speaking readers. Following an introductory chapter on Lukacs' philosophical development, the book concentrates on the coherent Marxist aesthetics that became the basis for his mature literary criticism. The study includes an examination of Lukacs' Marxist philosophical premises; his theory of the origin of art and the relationship of art to life, science, and religion; and his theory of artistic reflection and realism. Later chapters treat the concepts of type and totality in Lukacs' category of specialty, the distinctions between allegory and symbolism in his theory of the language of art, and Lukacs' understanding of aesthetic effect and form and content in art. There is a separate chapter on Lukacs' dramatic theory. This lucid and readable account of Lukacs' aesthetic theories will be of special interest to students of literature, aesthetics, and drama.In addition, it will be appreciated by those generally concerned with Marxist theory. Originally published in 1975. 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.