"Contexts for Criticism "introduces readers to the essential issues of literary interpretation. The text includes three complete works: Keats's "Ode on a Grecian Urn," Melville's "Benito Cereno," and Charlotte Perkins Gilmans "The Yellow Wallpaper," . . These texts - plus Shakespeare's The Tempest - are examined through seven fundamental critical theories: Historical (Author as Context and Culture as Context), Formal, Reader-Response, Mimetic, Intertextual, and Poststructural. .

15 lectures on novelists and literature, ranging from broad problems of critical theory and esthetic formulation to specific analyses of forms and texts.

Employing a chronological approach, this beautifully illustrated text can serve as a brief one semester introduction to art history, or as a core text in art appreciation.

Nine fresh views of the interconnections of historical, critical, and theoretical scholarship in the field of American rhetoric. Stephen T. Olsen addresses the question of how to determine the disputed authorship of Patrick Henry’s "Liberty or Death" speech of March 23, 1775. Stephen E. Lucas analyzes the Declaration of Independence as a rhetorical action, designed for its own time, and drawing on a long tradition of English rhetoric. Carroll C. Arnold examines the "communicative qualities of constitutional discourse" as revealed in a series of constitutional debates in Pennsylvania between 1776 and 1790. James R. Andrews traces the early days of political pamphleteering in the new American nation. Martin J. Medhurst discusses the generic and political exigencies that shaped the official prayer at Lyndon B. Johnson’s inauguration. In "Rhetoric as a Way of Being," Benson acknowledges the importance of everyday and transient rhetoric as an enactment of being and becoming. Gerard A. Hauser traces the Carter Administration’s attempt to manage public opinion during the Iranian hostage crisis. Richard B. Gregg ends the book by looking for "conceptual-metaphorical" patterns that may be emerging in political rhetoric in the 1980s.

In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.

Why do critics feel impelled to unmask and demystify the works that they read? What is the rationale for their conviction that language is always withholding some important truth, that the critic's task is to unearth what is unsaid, naturalized, or repressed? These are the features of critique, a mode of thought that thoroughly dominates academic criticism. In this book, Rita Felski brilliantly exposes critique's more troubling qualities and proposes alternatives to it. Critique, she argues, is not just a method but also a sensibility--one best captured by Paul Ricoeur's phrase "the hermeneutics of suspicion." As the characteristic affect of critique, suspicion, Felski shows, helps us understand critique's seductions and limitations. The questions that Felski poses about critique have implications well beyond intramural debates among literary scholars. Literary studies, says Felski, is facing a legitimation crisis thanks to a sadly depleted language of value that leaves the field struggling to find reasons why students should care about Beowulf or Baudelaire. Why is literature worth bothering with? For Felski, the tendencies to make literary texts the object of suspicious reading or, conversely, impute to them qualities of critique, forecloses too many other possibilities. Felski offers an alternative model that she calls "postcritical reading." Rather than looking behind the text for its hidden causes, conditions, and motives, she suggests that literary scholars place themselves in front of a text, reflecting on what it calls forth and makes possible. Here Felski enlists the work of Bruno Latour to rethink reading as a co-production between actors, rather than an unraveling of manifest meaning, a form of making rather than unmaking. As a scholar with an abiding respect for theory who has long deployed elements of critique in her own work, Felski is able to provide an insider's account of critique's limits and alternatives that will resonate widely in the humanities.

A critical reassessment of the methods of Latin textual criticism and editing, in a form accessible to non-specialists.

Times change, lives change, and the terms we need to describe our literature or society or condition—what Raymond Williams calls “keywords”—change with them. Perhaps the most significant development in the quarter-century since Eli Mandel edited his anthology Contexts of Canadian Criticism has been the growing recognition that not only do different people need different terms, but the same terms have different meanings for different people and in different contexts. Nation, history, culture, art, identity—the positions we take discussing these and other issues can lead to conflict, but also hold the promise of a new sort of community. Speaking of First Nations people and their literature, Beth Brant observes that “Our connections … are like the threads of a weaving. … While the colour and beauty of each thread is unique and important, together they make a communal material of strength and durability.” New Contexts of Canadian Criticism is designed to be read, to work, in much the same manner.

The New York Times film critic shows why we need criticism now more than ever Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual critics--himself included--can make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence. Using his own film criticism as a starting point--everything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated Ratatouille--Scott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."

This magnum opus is not another catalogue of the forms of biblical literature, but a deeply reflected account of the significance of form itself. Buss writes out of his experience in Western philosophy and the intricate involvement of biblical criticism in philosophical history. Equally, biblical criticism and the development of notions of form are related to social contexts, whether from the side of the aristocracy (tending towards generality) or of the bourgeois (tending towards particularity) or of an inclusive society (favouring a relational view). Form criticism, in Buss's conception, is no mere formal exercise, but the observation of interrelationships among thoughts and moods, linguistic regularities and the experiences and activities of life. This work, with its many examples from both Testaments, will be fundamental for Old and New Testament scholars alike.