S. Eliot, Marcel Proust, James Joyce, and Gertrude Stein. As Alfred Kazin later wrote, "Wilson was an original, an extraordinary literary artist . . . He could turn any literary subject back into the personal drama it had been for the writer."

    The book is fantastically illuminating, well written, works as a kind of autobiography, and Al's input is effective as commentary." You will probably feel the same way by seeing how creatively combining math, logic, psychology, and probability theory can solve problems you might have previously regarded as unsolvable. Your ability to identify and even manipulate other people's thoughts and desires should improve, as well as your ability to understand and resist other experts who attempt to do the same thing. And this book will almost certainly put money in your pocket.The title, DUCY?, was taken from our forums at www.twoplustwo.com's. To encourage people to think better, David would often ask, "Do you see why?" before fully explaining his conclusions or advice. Forum participants c

    And that brooding face carries instant images: bleak and threatening visions of an inescapable bureaucracy, nightmarish transformations, uncanny predictions of the Holocaust. But while Kafka’s genius is beyond question, the image of a mysterious, sickly, shadowy figure who was scarcely known in his own lifetime bears no resemblance to the historical reality. Franz Kafka was a popular and well-connected millionaire’s son who enjoyed good-time girls, brothels, and expensive porn, who landed a highly desirable state job that pulled in at least $90,000 a year in today’s dollars for a six-hour day, who remained a loyal member of Prague’s German-speaking Imperial elite right to the end, and whose work was backed by a powerful literary clique.Here are some of the prevalent Kafka myths:*Kafka was the archetypal genius neglected in his lifetime.*Kafka was lonely.*Kafka was stuck in a dead-end job, struggling to find time to write.*Kafka was tormented by fear of sex.*Kafka was unbendingly honest about himself to the women in his life – too honest.*Kafka had a terrible, domineering father who had no understanding of his son’s needs.*Kafka’s style is mysterious and opaque.*Kafka takes us into bizarre worlds.James Hawes wants to tear down the critical walls which generations of gatekeepers---scholars, biographers, and tourist guides---have built up around Franz Kafka, giving us back the real man and the real significance of his splendid works. And he'll take no prisoners in the process.

    Joyce's Voices is both a helpful guide through Joyce's complexities, and a brief treatise on the concept of objectivity: the idea that the world can be perceived as a series of reports to our senses. Objectivity, Kenner claims, was a modern invention, and one that the modernists--Joyce foremost among them--found problematic. Accessible and enjoyable, Joyce's Voices is what so much criticism is not: an aid to better understanding--and enjoying more fully--the work of one of the world's greatest writers.

    In considering such aspects, the author goes beyond the domain of pure aesthetics and offers an interpretation of some basic cultural problems of our time.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    It covers a broad range of fictional narratives, from Richardson’s Clarissa, Dostoyevski’s Crime and Punishment, and Austen’s Pride and Prejudice to Woolf’s Mrs. Dalloway, Nabokov’s Lolita, and Hammett’s The Maltese Falcon. Zunshine’s surprising new interpretations of well-known literary texts and popular cultural representations constantly prod her readers to rethink their own interest in fictional narrative. Written for a general audience, this study provides a jargon-free introduction to the rapidly growing interdisciplinary field known as cognitive approaches to literature and culture.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    Selection includes the following: RALPH WALDO EMERSON: Art, Character, Circles, Compensation, Divinity School Address, Experience, Friendship, Gifts, Heroism, History, Intellect, Literary Ethics, Love, Man the Reformer, Nature, New England Reformers, Nominalist and Realist, Politics, Prudence, Representative Men, Self-Reliance, The American Scholar, The Conservative, The Method of Nature, The Over-Soul, The Poet, The Transcendentalist, The Young American, HENRY DAVID THOREAU: An Excursion to Canada, A Plea for Captain John Brown, A Week on the Concord and Merrimack Rivers, Autumnal Tints, Civil Disobedience, Life Without Principle, Night and Moonlight, Slavery in Massachusetts, The Landlord, Walden, Walking

    It is also the only up-to-date survey of literary theory that devotes extensive treatment to Queer Theory and Postcolonial and Race Studies. How to Interpret Literature, Second Edition, is ideal as either a stand-alone text or in conjunction with an anthology of primary readings such as Robert Dale Parker's Critical Theory: A Reader for Literary and Cultural Studies.DISTINCTIVE FEATURES* Uses a conversational and engaging tone that speaks directly to today's students* Covers a variety of theoretical schools--including New Criticism, Structuralism, Deconstruction, Psychoanalysis, Feminism, and Marxism--weaving connections among chapters to show how these different movements respond to and build on each other* Offers a rich assortment of pedagogical features (charts, text boxes that address frequently asked questions, photos, and a bibliography)

    S. Eliot's writing. He reveals the reasons for the remarkable commercial successes of William Shawn's New Yorker and William Paley's CBS. He uncovers the connection between Larry Flynt's Hustler and Jerry Falwell's evangelism, between the atom bomb and the Scholastic Aptitude Test. He locates the importance of Richard Wright, Norman Mailer, Pauline Kael, Christopher Lasch, and Rolling Stone magazine. And he lends an ear to Al Gore in the White House as the Starr Report is finally presented to the public.Like his critically acclaimed bestseller, The Metaphysical Club, American Studies is intellectual and cultural history at its best: game and detached, with a strong curiosity about the political underpinnings of ideas and about the reasons successful ideas insinuate themselves into the culture at large. From one of our leading thinkers and critics, known both for his "sly wit and reportorial high-jinks [and] clarity and rigor" (The Nation), these essays are incisive, surprising, and impossible to put down.

    Whom the gods wish to destroy they first call promising.--Cyril Connolly Cyril Connolly (1903-1974) was one of the most influential book reviewers and critics in England, contributing regularly to The New Statesman, The Observer, and The Sunday Times, His many books and essays have been published to great acclaim on both sides of the Atlantic. First published in 1938 and long unavailable, Enemies of Promise is considered his major work. An inquiry into the problem of how to write a masterpiece, Connolly identifies the forces that work against the fulfillment of artistic promise--among them, politics, domesticity, advertising, and journalism. His concluding recollection of his education at Eton examines the factors which interfered with his own promise. Seventy years after it was written, Enemies of Promise remains powerful and true. It is a brilliant work by one of the most important critics of the period.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950