Close Reading: The Reader PDF
Preview Close Reading: The Reader
Close Reading Close Reading The Reader Edited byFrank Lentricchia andAndrew DuBois DUKE UNIVERSITY PRESS DurhamandLondon2003 ©2003DukeUniversityPress Allrightsreserved PrintedintheUnitedStatesofAmericaonacid-freepaper TypesetinTrumpMediaevalbyTsengInformationSystems,Inc. LibraryofCongressCataloging-in-PublicationData appearonthelastprintedpageofthisbook. Acknowledgmentofcopyrightsbeginsonpage385. ToTomFerraro CONTENTS Preface ix Introduction andrewdubois 1 FORMALISM(PLUS) Poetry:ANoteonOntology johncroweransom 43 Keats’sSylvanHistorian:HistoryWithoutFootnotes cleanthbrooks 61 SymbolicActioninaPoembyKeats kennethburke 72 TheEkphrasticPrincipleandtheStillMovementofPoetry; orLaokoönRevisited murraykrieger 88 ExamplesofWallaceStevens r.p.blackmur 111 HowtoDoThingswithWallaceStevens franklentricchia 136 StevensandKeats’s‘‘ToAutumn’’ helenvendler 156 ‘‘Lycidas’’:APoemFinallyAnonymous stanleyfish 175 AFTERFORMALISM? LiteraryHistoryandLiteraryModernity pauldeman 197 ActsofCulturalCriticism rolandbarthes 216 NostalgiaforthePresent fredricjameson 226 TheMousetrap catherinegallagherand stephengreenblatt 243 JaneAusten’sCoverStory(AndItsSecretAgents) sandragilbertandsusangubar 272 JaneAustenandtheMasturbatingGirl evekosofskysedgwick 301 UlyssesandtheTwentiethCentury francomoretti 321 ToMoveWithoutMoving:AnAnalysisofCreativityand CommerceinRalphEllison’sTruebloodEpisode houstona.bakerjr. 337 TheWorldandtheHome homibhabha 366 Contributors 381 AcknowledgmentofCopyrights 385 Index 387 viii Contents PREFACE T his anthology is intendedtorepresentandundercutwhatwe take to be the major clash in the practice of literary criticism in the pastcentury:thatbetweenso-calledformalistandso-callednonformal- ist(especially‘‘political’’)modesofreading.Theheadingsofthetwomajorsec- tionsaremeanttosuggestthatformalistcriticsarealwaysinterestedinthevast worldwhichliesoutsideliteratureandthatthenonformalistswhohavedomi- natedliterarycriticismandtheoryoverthelastdecadesofthetwentiethcen- turydotheirmostpersuasiveworkbyattendingcloselytotheartisticcharacter ofthetextbeforethem.Thecommonground,then,isacommitmenttoclose attentiontoliterarytextureandwhatisembodiedthere.Weemphasizethecon- tinuity,nottheclashofcriticalschools—thisistheimplicitpolemicalpointof thebook—thoughwebelieveitimportanttoremainonhighalerttothemajor differences.We like to imagine an ideal literary critic as one who commands andseamlesslyintegratesbothstylesofreading. Itisourhopeforstudentswhomightusethisbook,buthavenodesireto become literary critics—that is to say, most students—that they will emerge betterequippedasclosereaderstodealcriticallywiththemessages,linguisti- callyandvisuallyencoded,thatfloodandthreatentodrownusdaily.Bydealing ‘‘critically’’wemean‘‘independently’’:personswhowishtopreserveandsus- taintheirindependencearegoodclosereaders. ThankstoGrantFarredwhomadeanimportantsuggestionregardingthe selections, and to Jason Puskar and HelenVendler for their generous critical readings of a draft of the introduction. Caleb Smith compiled the index, and Charles Del Dotto acquired the permissions; finally, thanks to KenWissoker forhislong-standingsupportoftheproject. TheintroductionistheworkofAndrewDuBois,forwhichhisoldercol- laboratorisgrateful.
The list of books you might like
