“Felski frees critics from relying on critique as the gatekeeper of literary studies and offers a prescient guide to life in a postcritical world.” —Los Angeles Review of Books Why must critics unmask and demystify literary works? Why do they believe that language is always withholding some truth, that the critic’s task is to reveal the unsaid or repressed? In this book, Rita Felski examines critique, the dominant form of interpretation in literary studies, and situates it as but one method among many, a method with strong allure—but also definite limits. Felski argues that critique is a sensibility best captured by Paul Ricoeur’s phrase “the hermeneutics of suspicion.” She shows how this suspicion toward texts forecloses many potential readings while providing no guarantee of rigorous or radical thought. Instead, she suggests, literary scholars should try what she calls “postcritical reading”: rather than looking behind a text for hidden causes and motives, literary scholars should place themselves in front of it and reflect on what it suggests and makes possible. By bringing critique down to earth and exploring new modes of interpretation, The Limits of Critique offers a fresh approach to the relationship between artistic works and the social world. “Perhaps the most ambitious reappraisal of the discipline to appear since theory’s heyday.” —Times Literary Supplement “A book that will get all of us to take another look at what we’ve been doing. The Limits of Critique will shock some and elate others. No one will feel neutral, and no one can afford not to read this book.” —Wai Chee Dimock, author of Weak Planet: Literature and Assisted Survival
Over the last few decades, character-based criticism has been seen as either naive or obsolete. But now questions of character are attracting renewed interest. Making the case for a broad-based revision of our understanding of character, Character rethinks these questions from the ground up. Is it really necessary to remind literary critics that characters are made up of words? Must we forbid identification with characters? Does character-discussion force critics to embrace humanism and outmoded theories of the subject? Across three chapters, leading scholars Amanda Anderson, Rita Felski, and Toril Moi reimagine and renew literary studies by engaging in a conversation about character. Moi returns to the fundamental theoretical assumptions that convinced literary scholars to stop doing character-criticism, and shows that they cannot hold. Felski turns to the question of identification and draws out its diverse strands, as well as its persistence in academic criticism. Anderson shows that character-criticism illuminates both the moral life of characters, and our understanding of literary form. In offering new perspectives on the question of fictional character, this thought-provoking book makes an important intervention in literary studies.
Felski presents a critical account of current American and European feminist literary theory, and analyzes contemporary fiction by women to show that no theorist can identify a specifically "female" or "feminine" kind of writing without reference to what gender means at a given historical moment. She argues that the idea of a feminist aesthetic is a non-issue needlessly pursued by feminists. She calls for a consideration of the social and cultural context in which these texts were produced and received, and demonstrates her method of an interdisciplinary approach to the analysis of literature which can integrate literary and social theory. ISBN 0-674-06894-7: $25.00; ISBN 0-674-06895-5 (pbk.): $9.95.
Uses of Literature bridges the gap between literary theory and common-sense beliefs about why we read literature. Explores the diverse motives and mysteries of why we read Offers four different ways of thinking about why we read literature - for recognition, enchantment, knowledge, and shock Argues for a new “phenomenology” in literary studies that incorporates the historical and social dimensions of reading Includes examples of literature from a wide range of national literary traditions
“Examines the way we connect to novels, films, paintings and music, and argues that our enthusiasms should be an integral part of conversations about art.” —Helen Thaventhiran, London Review of Books How does a novel entice or enlist us? How does a song surprise or seduce us? Why do we bristle when a friend belittles a book we love, or fall into a funk when a favored TV series comes to an end? What characterizes the aesthetic experiences of feeling captivated by works of art? In Hooked, Rita Felski challenges the ethos of critical aloofness that is a part of modern intellectuals’ self-image. The result is sure to be as widely read as Felski’s book, The Limits of Critique. Wresting the language of affinity away from accusations of sticky sentiment and manipulative marketing, Felski argues that “being hooked” is as fundamental to the appreciation of high art as to the enjoyment of popular culture. Hooked zeroes in on three attachment devices that connect audiences to works of art: identification, attunement, and interpretation. Drawing on examples from literature, film, music, and painting—from Joni Mitchell to Matisse, from Thomas Bernhard to Thelma and Louise—Felski brings the language of attachment into the academy. Hooked returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks are generated not just by critics, but also by the responses of captivated audiences. “[Hooked] is an exposé aimed at critics who disavow their personal allegiances.” —Matthew Rubery, Public Books “There are many insights in Hooked that will facilitate a productive interdisciplinary conversation about aesthetics, politics, and the future of critique.” —Michael Gallope, nonsite.org
Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her book around four key questions: Do women and men read differently? How have feminist critics imagined the female author? What does plot have to do with gender? And what do feminists have to say about the relationship between literary and political value? Interweaving incisive commentary with literary examples, Felski advocates a double critical vision that can do justice to the social and political meanings of literature without dismissing or scanting the aesthetic.
Nine essays that Felski (English, U. of Virginia) has revised from publication elsewhere grapple with whether people live in the same time, whether it is possible to talk about men's time and women's or Western and non-Western time, how to explain that individuals and groups may perceive time very differently and yet seem to inhabit the same time in crucial respects, and what the stakes are in either affirming or denying the contemporaneity and coevalness of others. c. Book News Inc.
“Felski frees critics from relying on critique as the gatekeeper of literary studies and offers a prescient guide to life in a postcritical world.” —Los Angeles Review of Books Why must critics unmask and demystify literary works? Why do they believe that language is always withholding some truth, that the critic’s task is to reveal the unsaid or repressed? In this book, Rita Felski examines critique, the dominant form of interpretation in literary studies, and situates it as but one method among many, a method with strong allure—but also definite limits. Felski argues that critique is a sensibility best captured by Paul Ricoeur’s phrase “the hermeneutics of suspicion.” She shows how this suspicion toward texts forecloses many potential readings while providing no guarantee of rigorous or radical thought. Instead, she suggests, literary scholars should try what she calls “postcritical reading”: rather than looking behind a text for hidden causes and motives, literary scholars should place themselves in front of it and reflect on what it suggests and makes possible. By bringing critique down to earth and exploring new modes of interpretation, The Limits of Critique offers a fresh approach to the relationship between artistic works and the social world. “Perhaps the most ambitious reappraisal of the discipline to appear since theory’s heyday.” —Times Literary Supplement “A book that will get all of us to take another look at what we’ve been doing. The Limits of Critique will shock some and elate others. No one will feel neutral, and no one can afford not to read this book.” —Wai Chee Dimock, author of Weak Planet: Literature and Assisted Survival
In Doing Time, Rita Felski argues that it makes little sense to think of the modern and postmodern as antithetical ideas. Rather, we need a historical perspective attentive to the leaky boundaries between different times as well as the many cultural and political differences within a single time.
“Examines the way we connect to novels, films, paintings and music, and argues that our enthusiasms should be an integral part of conversations about art.” —Helen Thaventhiran, London Review of Books How does a novel entice or enlist us? How does a song surprise or seduce us? Why do we bristle when a friend belittles a book we love, or fall into a funk when a favored TV series comes to an end? What characterizes the aesthetic experiences of feeling captivated by works of art? In Hooked, Rita Felski challenges the ethos of critical aloofness that is a part of modern intellectuals’ self-image. The result is sure to be as widely read as Felski’s book, The Limits of Critique. Wresting the language of affinity away from accusations of sticky sentiment and manipulative marketing, Felski argues that “being hooked” is as fundamental to the appreciation of high art as to the enjoyment of popular culture. Hooked zeroes in on three attachment devices that connect audiences to works of art: identification, attunement, and interpretation. Drawing on examples from literature, film, music, and painting—from Joni Mitchell to Matisse, from Thomas Bernhard to Thelma and Louise—Felski brings the language of attachment into the academy. Hooked returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks are generated not just by critics, but also by the responses of captivated audiences. “[Hooked] is an exposé aimed at critics who disavow their personal allegiances.” —Matthew Rubery, Public Books “There are many insights in Hooked that will facilitate a productive interdisciplinary conversation about aesthetics, politics, and the future of critique.” —Michael Gallope, nonsite.org
Over the last few decades, character-based criticism has been seen as either naive or obsolete. But now questions of character are attracting renewed interest. Making the case for a broad-based revision of our understanding of character, Character rethinks these questions from the ground up. Is it really necessary to remind literary critics that characters are made up of words? Must we forbid identification with characters? Does character-discussion force critics to embrace humanism and outmoded theories of the subject? Across three chapters, leading scholars Amanda Anderson, Rita Felski, and Toril Moi reimagine and renew literary studies by engaging in a conversation about character. Moi returns to the fundamental theoretical assumptions that convinced literary scholars to stop doing character-criticism, and shows that they cannot hold. Felski turns to the question of identification and draws out its diverse strands, as well as its persistence in academic criticism. Anderson shows that character-criticism illuminates both the moral life of characters, and our understanding of literary form. In offering new perspectives on the question of fictional character, this thought-provoking book makes an important intervention in literary studies.
Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her book around four key questions: Do women and men read differently? How have feminist critics imagined the female author? What does plot have to do with gender? And what do feminists have to say about the relationship between literary and political value? Interweaving incisive commentary with literary examples, Felski advocates a double critical vision that can do justice to the social and political meanings of literature without dismissing or scanting the aesthetic.
The Principles and Practice of Narrative Medicine articulates the ideas, methods, and practices of narrative medicine. Written by the originators of the field, this book provides the authoritative starting place for any clinicians or scholars committed to learning of and eventually teaching or practicing narrative medicine.
In an exploration of the complex relations between women and the modern, this work challenges conventional male-centred theories of modernity. It examines the gendered meanings of such notions as nostalgia, consumption, feminine writing, the popular sublime, evolution, revolution and perversion.
Uses of Literature bridges the gap between literary theory and common-sense beliefs about why we read literature. Explores the diverse motives and mysteries of why we read Offers four different ways of thinking about why we read literature - for recognition, enchantment, knowledge, and shock Argues for a new “phenomenology” in literary studies that incorporates the historical and social dimensions of reading Includes examples of literature from a wide range of national literary traditions
Strangers at Home reframes the way we conceive of the modernist literature that appeared in the period between the two world wars. This provocative work shows that a body of texts written by ethnic writers during this period poses a challenge to conventional notions of America and American modernism. By engaging with modernist literary studies from the perspectives of minority discourse, postcolonial studies, and postmodern theory, Rita Keresztesi questions the validity of modernism's claim to the neutrality of culture. She argues that literary modernism grew out of a prejudiced, racially biased, and often xenophobic historical context that necessitated a politically conservative and narrow definition of modernism in America. With the changing racial, ethnic, and cultural makeup of the nation during the interwar era, literary modernism also changed its form and content. ø Contesting traditional notions of literary modernism, Keresztesi examines American modernism from an ethnic perspective in the works of Harlem Renaissance, immigrant, and Native American writers. She discusses such authors as Countee Cullen, Nella Larsen, Zora Neale Hurston, Anzia Yezierska, Henry Roth, Josephina Niggli, Mourning Dove, D?Arcy McNickle, and John Joseph Mathews, among others. Strangers at Home makes a persuasive argument for expanding our understanding of the writers themselves as well as the concept of modernism as it is currently defined.
This book focuses on six of Miriam Toews’s Mennonite novels—Swing Low: A Life (2000), A Complicated Kindness (2004), Irma Voth (2011), All My Puny Sorrows (2014), Women Talking (2018), and Fight Night (2021)—, so called because they portray fictional and autobiographical events, set in Mennonite communities in Canada, Mexico, and Bolivia. Rita Dirks argues that through the exploration of difficult subjects such as the physical and emotional abuse of teenaged girls, women, and children , Toews gives a voice to victims and survivors who are otherwise silenced in that sequestered culture. In addition, Dirks shows that in the Mennonite novels, Toews’s rage at the injustices experienced by her protagonists becomes a transformative art that gives a voice to all stories, especially those of women within authoritative patriarchal communities that openly proclaim pacifism.
Narrative medicine emerged in response to a commodified health care system that places corporate and bureaucratic concerns over the needs of the patient. This book provides an introduction to the principles of narrative medicine and guidance for implementing narrative methods.
In an exploration of the complex relations between women and the modern, this work challenges conventional male-centred theories of modernity. It examines the gendered meanings of such notions as nostalgia, consumption, feminine writing, the popular sublime, evolution, revolution and perversion.
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