If art criticism of the postwar period was especially concerned with protecting the viewer from the degenerate art object that clings to the viewer for its completion, postwar literary criticism—epitomized by the New ... 
The New York Review of Books (blog) In the Chloroformed Sanctuary The New York Review of Books (blog) Is Dyer correct that while original literature throbs with life, literary criticism is the work of cloistered drudges who suffocate the very creature... Recently, I've started saying, “secondary literature.” This gets a laugh (oh, those academics, and their silly quarrels over minutia!), but I'm serious. I really love reading criticism. Literature is (among other things) my sports or ... 
Western News Author reclaims women's role in history Western News By Adela Talbot You could say Ami McKay is supplementing history, infusing male-centric historical facts with fictitious – yet intrinsically accurate – feminine tales. 
Falling in Love with Morally Ambiguous Television Characters The problem with kindred characters and resolved endings is that they often preclude interesting storytelling. Many storytellers confront this tension by ignoring it. They write stories filled with nuanced characters and plot twists but end them with unsatisfying clichés. I would call this the Lost phenomenon. The creators of Lost promised complexity but weren’t sophisticated enough to answer the questions they’d raised during the course of the series. Instead of allowing viewers explanations they’d been promised, they copped out with an ending that felt like it had been written for a different show. I felt duped, strung along. Limited answers, I felt, would have been better than contrived closure. 
The Atlantic The Precarious State of the Literary Interview The Atlantic But Iyer is right that many of the literary interviews published or aired today lack the substance and style that the literary interview's rich and varied history suggests. 
What Do Spoilers Spoil? New York Times (blog) In August 2011 two researchers at the University of California at San Diego reported (in the journal Psychological Science) that in a controlled experiment, “subjects significantly preferred spoiled over... 
... of the madness of the Kims while also letting us enter more fully the mental processes of someone who is a victim of that madness—but then, that's in the nature of fiction, to give us access to what is otherwise inaccessible. 
And, to show that the psychology of fiction is reaching maturity, here's a research bulletin on a new article, published on-line in the American Psychological Association's principal journal of social psychology. 
We enter other worlds, seduced by the magic of language, or we explore and perhaps embrace new philosophical, psychological, or religious thoughts. How very sad indeed, that most likely due to the pressures and sheer ... 
What literary Darwinism reveals about universal values. 
In these two novels, one can sense a writer carefully working through the problems posed by the novel as a form, and by the conventions of narrative as filtered through issues of identity. The exploration of these questions ensures that the novel continues to evolve as it is taken further away from the cultures in which it originated. That this critical labor is kept at the service of storytelling is an olive branch extended to readers, to whom it ought to matter less whether or not a story is true than that it is well-told, and that it warns us. 
Literature, by whatever definition we use, is a body of writing intended to deal with more complex story telling in order to produce a response that can be articulated in a way that's as nuanced as the primary work, the factors that make for the "literary" we expect cannot be reducible to a single , intangible supposition. Use is a valuable defining factor, but the use of literature varies wildly reader-to-reader, group-to-group, culture-to-culture, and what it is within the work that is resonates loudly as the extraordinary center that furnishes ultimate worth, varies wildly too; there are things that instigate this use, and they aren't one determinant, but several, I suspect. A goal of criticism, ultimately, is not to create the terms that define greatness, but to examine and understand what's already there, and to devise a useful, flexible framework for discussion. Ultimately, the interest in useful criticism is in how and why a body of work succeeds or fails in their operation, not establishing conditions that would exist before a book is written. |
Tom Wolfe film follows master satirist in Miami CBS News" After the first trip, I thought to myself, 'I am watching literary history unfold,'" he said. "Tom Wolfe is pounding the pavement as he has throughout his career... 
This goes beyond wanting to tell you about someone, this is about needing to tell you about someone. A part of me is shocked I got to be this age without discovering her before. She is exactly the sort of... 
May 24 is world schizophrenia day. There are some popular misconceptions about schizophrenia that keep recurring in media and films about schizophrenia. Interestingly, in most of our films, the disorder mostly have symptoms that would help the writer to manipulate the story. 
Truancy — What Holden, Huck, Scout, and Florine have to say Black Hills Pioneer From a student's point of view, literature may offer a better explanation of truancy than either experts or research. It brings context to real life. 
Ghana Business News 'Things Fall Apart' named one of the world's 50 Most Influential Books Ghana Business News Chinua Achebe's Things Fall Apart written in 1958, and as the most widely read book in contemporary African literature, focuses on the clash... Jane Austen first published ''Pride and Prejudice'' in 1813. She had misgivings about the book, complaining in a letter to her sister that it was ''rather too light, and bright, and sparkling.'' But these qualities may be what make it the most popular of her novels. It tells the story of Elizabeth Bennet, a young woman from a shabby genteel family, who meets Mr. Darcy, an aristocrat. At first, the two dislike each other. Mr. Darcy is arrogant; Elizabeth, clever and cutting. But through a series of encounters that show one to the other in a more appealing light -- as well as Mr. Darcy's intervention when an officer named Wickham runs away with Elizabeth's younger sister Lydia (Darcy bribes the cad to marry Lydia) -- Elizabeth and Darcy come to love each other, to marry and, it is strongly suggested at book's end, to live happily ever after. For the common reader, ''Pride and Prejudice'' is a romantic comedy. His or her pleasure comes from the vividness of Austen's characters and how familiar they still seem: it's as if we know Elizabeth and Darcy. On a more literary level, we enjoy Austen's pointed dialogue and admire her expert way with humor. For similar reasons, critics have long called ''Pride and Prejudic'' a classic -- their ultimate (if not well defined) expression of approval. But for an emerging school of literary criticism known as Literary Darwinism, the novel is significant for different reasons. Just as Charles Darwin studied animals to discover the patterns behind their development, Literary Darwinists read books in search of innate patterns of human behavior: child bearing and rearing, efforts to acquire resources (money, property, influence) and competition and cooperation within families and communities. Lecturer charts literary history of class and capitalism Leeds Metropolitan University Dr Lawson, Course Leader of the BA (Hons) English Literature course at our University, commented: “Studying the experience of downward mobility revealed to me the complexity of class identity, since the writers whose family history I researched might have had social status, but no longer possessed wealth in the form of money and property. It’s a timely subject, since the on-going financial crisis has demonstrated that free markets cannot provide people with economic stability or social justice. The humanities need to engage with questions of class as well as cultural difference in today’s global economy, where opportunities exist alongside inequality, insecurity, and risk.” 
It is true to say disabled characters in children's books are in the minority. I struggle to think of any disabled heroes in popular modern literature. JK Rowling's 'Harry Potter' saga barely contained any reference to disability, ... 
Before the publication of “Where the Wild Things Are” in 1963, children's literature was comprised largely of folk tales, fairy tales and near-Victorian tales of good little children whose job was to please their elders – or else. Sendak's words and images personify Freud's appreciation of a child's complexity Erikka Askeland: Upside of settling down with a book ScotsmanI can recall the first time I was so gripped by a character in literature that my eyes popped. 
Adam Gopnik is critical of a book that suggests that storytelling is adaptive, evolutionarily speaking. I have not yet read the book, and for all I know the book itself is bubble-headed. But it supports a view to which I am sympathetic. Of course, whenever you are doing theoretical psychology, you must be careful not to fall into the trap of telling just-so stories. Or at least try. You have a limited ability to determine what psychological factors might be adaptive and what might not. But there are educated guesses you can make. Gopnik is not dismissive of all speculative evolutionary psychology – he praises a book on the evolutionary origins of gossip. He just thinks the idea that storytelling is adaptive is BS. 
Sydney Morning Herald Conversations from the body Sydney Morning Herald It's literary taboo. Susan Johnson writes about all the things women aren't meant to write about. "WOMEN aren't supposed to write about blood and body parts, torn flesh and burning pain in literature." |
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