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Read through the most famous quotes by topic #critic
I take criticism so seriously as to believe that, even in the midst of a battle in which one is unmistakably on one side against another, there should be criticism, because there must be critical consciousness if there are to be issues, problems, values, even lives to be fought for... Criticism must think of itself as life-enhancing and constitutively opposed to every form of tyranny, domination, and abuse; its social goals are noncoercive knowledge produced in the interests of human freedom. ↗
The future is unwritten. there are best case scenarios. There are worst-case scenarios. both of them are great fun to write about if you' re a science fiction novelist, but neither of them ever happens in the real world. What happens in the real world is always a sideways-case scenario. World-changing marvels to us, are only wallpaper to our children. ↗
Periods' are largely an invention of the historians. The poets themselves are not conscious of living in any period and refuse to conform to the scheme. ↗
(Feedback) People become addicted to it. That’s why journalism is so popular, because you want to hear, every day, what people think of what you just wrote. I think a little patience on that front can be good, too. ↗
The ones that landed near the bathroom are Bad Tolkien imitations or transcripts of a D&D adventure; bad Herbert, Heinlein, and Asimov are below the television; and these on the bed are the ones whose authors I want to hunt down personally and slap. ↗
#fanfiction #imitation #literary-criticism #literary-criticism
Context is everything in both narrative and real life, and while the accusation is never that these creators deliberately set out to discriminate against gay and female characters, the unavoidable implication is that they should have known better than to add to the sum total of those stories which, en masse, do exactly that. And if the listmakers can identify the trend so thoroughly – if, despite all the individual qualifications, protests and contextualisations of the authors, these problems can still be said to exist – then the onus, however disconnected from the work of any one individual, nonetheless falls to those individuals, in their role as cultural creators, to acknowledge the problem; to do better next time; perhaps even to apologise. This last is a particular sticking point. By and large, human beings tend not to volunteer apologies for things they perceive to be the fault of other people, for the simple reason that apology connotes guilt, and how can we feel guilty – or rather, why should we – if we’re not the ones at fault? But while we might argue over who broke a vase, the vase itself is still broken, and will remain so, its shards ground into the carpet, until someone decides to clean it up. Blog Post: Love Team Freezer ↗
#minorities #narratives #writing #ya #love
As Henry Dan Piper, one of Fitzgerald's most perceptive critics, has commented, his fiction heroes "are destroyed because they attempt to fulfill themselves through their social relationships. They cannot distinguish between social values like popularity, charm, and success, and the more lasting moral values." Their creator did make that distinction, however, and so was constantly surrounding his characters with a mist of admiration and then blowing it away. ↗
I had not particularly liked the way in which he wrote about literature in Beginnings, and I was always on my guard if not outright hostile when any tincture of 'deconstruction' or 'postmodernism' was applied to my beloved canon of English writing, but when Edward talked about English literature and quoted from it, he passed the test that I always privately apply: Do you truly love this subject and could you bear to live for one moment if it was obliterated? ↗
#edward-said #literary-criticism #literature #postmodernism #love
There is a degree of emotional impact in the nature poetry of the eighteenth century which marks a shift in sensibility towards what came to be called 'the sublime'. The concept, from classical Greek, came to England through the French of Boileau, and reached its definitive explication in Edmund Burke's Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (1757-59). This is a key text of the times, displaying an emphasis on feelings and on imagination, which is almost the antithesis of the neoclassical insistence on form and reason. Burke's idea of the sublime goes beyond natural beauty (although the beauty of nature is very much a part of it) and goes into the realms of awe, or 'terror'. The sublime is, for Burke, 'productive of the strongest emotion which the mind is capable of feeling'. Terror, emotion, feeling: all these represent a break from the intellectual rigours of the Augustan age, and are in one sense a reaction against the new pressures of society and bourgeois concerns. ....... The link between the sublime and terror is most clearly seen in the imaginative exaggeration of the Gothic novel - a form which concentrated on the fantastic, the macabre and the supernatural, with haunted castles, spectres from the grave and wild landscapes. It is significant that the term 'Gothic' originally had mediaeval connotations: this is the first of several ways of returning to pre-Renaissance themes and values which is to be found over the next hundred years or so. The novels of the 1760s to the 1790s, however, gave the term 'Gothic' the generic meaning of horror fantasy. The Castle of Otranto (1764) by Horace Walpole (son of the prime minister Sir Robert Walpole) was the first of this kind, and the sub-genre has flourished ever since. ......... Like many texts of its times, Walpole's novel purported to be a translation of an ancient manuscript dating from the eleventh or twelfth century. There was a strange fashion for these mediaeval rediscoveries, Thomas Chatterton and James Macpherson (Ossian) being notable contributors to the trend. Whether this was a deliberate avoidance of boastful originality or an attempt to give the works involved some spurious historical validity is not clear. Peter Ackroyd's novel Chatterton (1987) examines the phenomenon. ↗
#age
