Bibliografie tematiche / Literature fiction history criticism criticism theory genera

Letteratura scientifica selezionata sul tema "Literature fiction history criticism criticism theory genera"

Autore: Grafiati

Pubblicato: 25 luglio 2024

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Articoli di riviste sul tema "Literature fiction history criticism criticism theory genera"

Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]". China Quarterly 178 (giugno 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.

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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.

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Togola, Adama. "Du polar d’Afrique francophone et des stratégies pour contourner la marge instituée". International Journal of Francophone Studies 24, n. 3 (1 dicembre 2021): 207–19. http://dx.doi.org/10.1386/ijfs_00038_1.

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This study attempts to reassess the critical discourse on the Francophone African detective fiction in order to show how the dynamics of genres and discourse in the crime novel participates in a reflection on writing and the boundaries between so-called popular literature and the so-called ‘literate’. It is about analysing the workaround strategies implemented by writers to lift the crime novel from the sidelines in which it has long been placed. Born in the nineteenth century with modernity, the African detective fiction is today one of the axes of development of African literature. It competes, by its dynamism and its originality, with the canonical novel. The resumption of thematic recurrences (immigration, social and political criticism) shows that it contributes to a broad representation of social semiosis. It now claims a discursive space of which the dominant field is obliged to recognize the relevance.

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Petrovic, Ivana, e Andrej Petrovic. "General". Greece and Rome 65, n. 2 (17 settembre 2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.

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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.

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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction". Comparative Literature 58, n. 3 (1 gennaio 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.

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Roberts, R. "American Science Fiction and Contemporary Criticism". American Literary History 22, n. 1 (20 novembre 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction". French Studies 60, n. 3 (1 luglio 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.

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O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction". New England Quarterly 88, n. 4 (dicembre 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.

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Collinge, James T. "‘With envious eyes’: Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau". Literature & History 26, n. 1 (maggio 2017): 39–55. http://dx.doi.org/10.1177/0306197317695082.

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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.

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MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism". French Studies 59, n. 4 (1 ottobre 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.

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Громова, П. С. "LITERARY CRITICISM OF THE L. N. GUMILYOV’S LEGACY". Вестник Тверского государственного университета. Серия: Филология, n. 1(76) (17 aprile 2023): 39–46. http://dx.doi.org/10.26456/vtfilol/2023.1.039.

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В статье сопоставляются характерные черты романтического героя и пассионарной личности, как ее понимал Л.Н. Гумилев. Делается вывод о том, что теория пассионарности может быть применена при анализе художественной литературы, поскольку позволяет уточнить и углубить понимание данного литературного феномена. The article compares the characteristic features of a romantic hero and a passionate personality, as understood by L.N. Gumilev. It is concluded that the theory of passionarity can be applied in the analysis of fiction, since it allows clarifying and deepening the understanding of this literary phenomenon.

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Tesi sul tema "Literature fiction history criticism criticism theory genera"

Floerke, Jennifer Jodelle. "A queer look at feminist science fiction: Examing Sally Miller Gearhart's The Kanshou". CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2889.

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This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.

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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory". Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.

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Payne, Christopher Neil. "Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.

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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.

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Selling, Kim Liv. "Nature, reason and the legacy of romanticism : constructing genre fantasy". Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/2565.

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Moss, Laura F. E. "An infinity of alternate realities, reconfiguring realism in postcolonial theory and fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/NQ31944.pdf.

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Weiss, Katherine. "The Plays of Samuel Beckett". Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.

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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work. Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.
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Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction". CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.

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Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.

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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

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McRobert, Neil. "The new labyrinth : reading, writing and textuality in contemporary Gothic fiction". Thesis, University of Stirling, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605851.

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This thesis examines the forms and functions of self-consciousness in contemporary Gothic fiction. Though self-consciousness is an often-mentioned characteristic of Gothic writing, it has yet to be explored in sufficient depth. In particular, critics have failed to recognise the manner in which the myriad forms of textual and generic self-reflexivity at work contribute to the fiction’s fearful agenda: how self-consciousness in the Gothic is itself Gothicised. This thesis argues that, rather than being an ancillary quirk of generic coherence or an indication of creative exhaustion, self-consciousness has become an integral part of the genre’s terroristic project, a new source and representational mode of terror. In the wake of postmodern and post-structural theory, the genre’s longstanding interest in reading, writing and textuality has been renewed, re-contextualised and redeployed as a key feature of the Gothic ‘effect’. My original contribution to knowledge is a charting of the intersections between the Gothic and this critical perspective on the text. In particular I explore how the Barthesian reorientation of the text is redeployed in Gothic fiction as a source of terror. Rather than pursuing an author-centric division of chapters I have organised the thesis around types of self-conscious commentary that occur throughout the contemporary Gothic. These are: a focus on the process of writing and textual composition; the internalisation and Gothicised representation of critical theory; an acute awareness and meta-commentary on the critical and commercial contexts of Gothic; and intertextuality. Key texts include Stephen King’s Misery (1987), Mark Danielewski’s House of Leaves (2000), Chuck Palahniuk’s Haunted (2005), A.N. Wilson’s A Jealous Ghost (2005), R. M. Berry’s Frank (2005) and Peter Ackroyd’s The Casebook of Victor Frankenstein (2008). This selection of texts is representative of a varied but coherent inward turn in the Gothic fiction of recent decades. It is, however, by no means exhaustive and supplementary evidence will be provided from additional texts. Equally, it is important to contextualise this contemporary turn in relation to an established vein of self-consciousness in the Gothic, present since its inception. As such, my approach is firstly to trace a lineage of reflexivity and to draw upon that tradition in demonstrating how contemporary Gothic writers have honed this technique to a uniquely terrifying purpose.

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Herrera, Adriana. "Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)". FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1741.

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Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema. Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.

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Libri sul tema "Literature fiction history criticism criticism theory genera"

McDowell, Deborah E. "The changing same": Black women's literature, criticism, and theory. Bloomington, Ind: Indiana University Press, 1995.

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Farner, Geir. Literary Fiction: The Ways We Read Narrative Literature. New York: Bloomsbury Academic, 2014.

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Hämäläinen, Nora. Literature and moral theory. New York: Bloomsbury Academic, 2015.

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Margaret, Haerens, e Kalasky Drew, a cura di. Excerpts from criticism of the works of short fiction writers. London: Gale, 1996.

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Washington, Peter. Fraud: Literary theory and the end of English. London: Fontana Press, 1989.

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Gardiner, Ellen. Regulating readers: Gender and literary criticism in the eighteenth-century novel. Newark: University of Delaware Press, 1999.

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Banash, David C. Steve Tomasula: The art and science of new media fiction. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc., 2015.

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G, Pearson Wendy, Hollinger Veronica e Gordon Joan 1947-, a cura di. Queer universes: Sexualities in science fiction. Liverpool: Liverpool University Press, 2008.

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G, Pearson Wendy, Hollinger Veronica e Gordon Joan 1947-, a cura di. Queer universes: Sexualities in science fiction. Liverpool: Liverpool University Press, 2008.

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Holton, Robert. Jarring witnesses: Modern fiction and the representation of history. New York: Harvester Wheatsheaf, 1994.

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Capitoli di libri sul tema "Literature fiction history criticism criticism theory genera"

Beenstock, Zoe. "Empiricism’s Secret History: Fleetwood and Rousseau". In The Politics of Romanticism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401036.003.0006.

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Criticism often organizes Godwin’s career by genre, suggesting that Godwin progressed from political theory to sentimental fiction. Instead this chapter argues that Godwin follows Rousseau in writing literature to ‘judge’ his own philosophy. In Enquiry Concerning Political Justice Godwin posits society as prior to the individual. He regards the general good as mandatory rather than voluntary. Godwin’s novels examine the struggles of individuals in conforming to his model of compulsory sociability. In Fleetwood and Mandeville Godwin explores the shortcomings of Rousseau’s theory of individualist education. He fictionalizes Rousseau, Hume, Wollstonecraft, and the First Earl of Shaftesbury, exploring the shortcomings of their theories. In Fleetwood Godwin uses elements of the genre of the secret history to explore political theory’s failure to validate women within the public sphere. Deloraine extends Godwin’s criticism of the social contract tradition for being inherently patriarchal. In Godwin’s writings Rousseau eclipses Aristotle as the founding theorist of sociability.

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Hamilton, Paul. "Reconstructing historicism". In Literary Theory and Criticism, 386–404. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199291335.003.0027.

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Abstract All critics are historicist up to a point. The pastness of the texts that we interpret demands accommodations of critical approach to negotiate historical differences. Equally, if a work of literature speaks to us now with a contemporary relevance, that inevitably plays some part in our evaluations. So far, this give and take is only what one would expect. Historicism becomes more interesting when it addresses questions of perennial philosophical importance, such as the relations between fact and fiction in history and aesthetics. Are historical and aesthetic discourses necessarily opposed in their tasks, or do they offer each other mutual support? Traditionally, the aptness of literary skills to the evocation or re-creation of the past has helped to distinguish historical explanations from scientific ones, for which fictional assistance is usually thought to be a disadvantage.

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Haltrin-Khalturina, Elena V. "From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions". In “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.

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A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.

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Goodman, Sam. "Introduction: Retrospective Diagnosis: Medicine and Post-Imperial Literature". In The Retrospective Raj, 1–32. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474448741.003.0001.

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The general introduction to the book outlines the critical, cultural and literary contexts of post-imperial fiction, the origins and growth in popularity of the Raj Revival, and the continued, ongoing British fascination with the vanished world of Empire. It considers the recent return to debates over Empire in the public sphere, situating its analysis as informed by nostalgia, historical fiction and the politics of cultural representation. The introduction also outlines the critical medical humanities framework of the book in detail, exploring how medicine is a common thematic link between the real and imagined history of Empire in print cultures past and present. Moreover, the introduction places the book’s major authors (J. G. Farrell, Paul Scott, Ruth Prawer Jhabvala and Salman Rushdie) analysed throughout the chapters within their historical and critical contexts, exploring how literary critics and biographers have appraised their work to date, how India was a defining leitmotif of their work in this period, and how their shared emphasis on the theme of medicine and health unites their work in a way that has not been considered from a scholarly perspective before.

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Davis, Charles T., e Henry Louis Gates. "The Slave Narratives as Literature". In The Slave’s Narrative, 155–297. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195066562.003.0003.

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Abstract One of the most quickly expanding fields of contemporary literary history is narrative theory. Those principles upon which we define “auto biography” and “fiction,” long thought to be self-evident and matters of common sense, have recently been recognized to be problematical. More over, the status of the black slave’s texts have, only in the past two de cades, received as much close analysis and practical criticism as have other sorts of written discourse. It was to collect these recent examples of literary criticism that the editors originally agreed to prepare this col lection. The essays collected here analyze the narratives as literary works. Some explicate the shared tropes and themes of the genre; others discuss their textual inter-relationships as literary history; still others are close readings of discrete texts. Jean Fagan Yellin’s essay marshals evidence to prove that the richest female slave narrative, the veracity of which until recently disputed by historians as scrupulous as John Blassingame, is indeed the narrative written by the slave, Harriet Jacobs, “by herself.”

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Beaton, Roderick. "Introduction". In An Introduction to Modern Greek Literature, 1–24. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198158592.003.0001.

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Abstract This book aims to provide a new overview of Greek poetry and prose fiction since approximately the time that the Greek nation-state came into existence in the 1820s. The purpose of this introductory chapter is, first of all, to set out the reasons why such an overview is necessary and timely, and secondly to explain the perspective, and the self-imposed limitations, which are integral to this particular attempt. It should be declared from the outset that this book has been conceived as a contribution to literary history (as opposed, say, to literary criticism or literary theory). By literary history I mean the whole network of interrelationships through which writings are linked both with one another and with the wider history of the culture of which they form a part. In this sense, literary history is by no means a mere chronicle of names and dates; in particular, it involves critical reading of texts which it may often seek, as criticism does, both to interpret and to evaluate. But interpretation and evaluation, in this book, will always take place against a background of a specific historical context, which defines both the production and the reception of the literary work.

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Clark, Frederic. "Introduction". In The First Pagan Historian, 1–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190492304.003.0001.

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The Introduction opens with broad reflections on the place of forgery, criticism, and debates over textual authenticity in the reception of Greco-Roman antiquity, whether in Renaissance Europe or today. It surveys recent literature on forgery and antiquity and also discusses the ongoing presence of moralizing language and polemic in works of ostensible dispassionate criticism. It then introduces readers to the text at the center of this book—Dares Phrygius’ De excidio Troiae historia or History of the Destruction of Troy—and discusses antecedents for works of this nature in the Second Sophistic. Thereafter, it examines Dares’ ambiguous place at the intersection of history, myth, and literary fiction, arguing that modern means of distinguishing among these concepts (such as the Weberian theory of “disenchantment”) are unable to explain the motivations of both Dares’ critics and believers. The remainder of the Introduction discusses issues of method, situating The First Pagan Historian within current trends in intellectual history, book history, and classical reception studies.

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Avanessian, Armen. "Asynchronous Present Past". In Speculative Art Histories. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421041.003.0002.

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Peter Osborne has recently made the ‘speculative proposition’ that post-conceptual art articulates a post-aesthetic poetics. Contemporary art might no longer be an aesthetic art, or at least, it might no longer be understood within the traditional (philosophical) framework of aesthetics. Just as art is undergoing an ontological change, the new linguistic ontology of contemporary fiction or narration, too, demands a Speculative Poetics. Both the con-temporary (in the arts) and the present tense (in recent novels) are characterized by the co-presence of several present times. This co-presence cannot be experienced as such by a subject, it is only present for speculative thought. This quality of the con-temporary and the asynchronous present displayed in art and literature today provokes the question of the extent to which a speculative art history or speculative theory of literature needs to go beyond aesthetics. The hypothesis to be explored here is that we witness the first signs of a revision of the eighteenth-century inauguration of aesthetics, which had relegated poetics (and rhetoric) to the sidelines. A speculative criticism targets the very correlationism of aesthetics, i.e. its structural implementation of the hermeneutic relation between the object and its subjective observer or reader.

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