Doing Criticism

Doing Criticism
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Not only an accessible hands-on guide to writing criticism across the literary arts, the dramatic arts, and the narrative screen arts, but also a book that makes a case for how and why criticism matters today Doing Criticism: Across Literary and Screen Arts is a practical guide to engaging actively and productively with a critical object, whether a film, a novel, or a play. Going beyond the study of lyric poetry and literature to include motion picture and dramatic arts, this unique text provides specific advice on how to best write criticism while offering concrete illustrations of what it looks like on the page. Divided into two parts, the book first presents an up-to-date account of the state of criticism in both Anglo-American and Continental contexts—describing both the longstanding mission and the changing functions of criticism over the centuries and discussing critical issues that bridge the literary and screen arts in the contemporary world. The second part of the book features a variety of case studies of criticism across media, including works by canonical authors such as Jane Austen, Charles Dickens, and W. B. Yeats; films such as Coppola’s The Conversation andHitchcock’s Vertigo; screen adaptations of Mary Shelley’s Frankenstein and Ishiguro’s The Remains of the Day ;   and a concluding chapter on several of Spike Lee’s film “joints” that brings several of the book’s central concepts to bear on work of a single film auteur. Helping students of literature and cinema write well about what they find in their reading and viewing, Doing Criticism: Across Literary and Screen Arts : Discusses how the bridging of the literary arts and screen arts can help criticism flourish in the present day Illustrates how the doing of criticism is in practice a particular kind of writing Considers how to generalize the consequences of criticism beyond personal growth and gratification Addresses the ways the practice of criticism matters to the practice of the critical object Suggests that doing without criticism is not only unwise, but also perhaps impossible Features case studies organized under the rubrics of conversation, adaptation, genre, authorship and seriality   Doing Criticism: Across Literary and Screen Arts is an ideal text for students in introductory courses in criticism, literary studies, and film studies, as well as general readers with interest in the subject.

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James Chandler. Doing Criticism

Doing Criticism. Doing Criticism: Across Literary and Screen Arts

Contents

List of Illustrations

Guide

Pages

Preface

Acknowledgments

CHAPTER 1 Doing Criticism/Doing without Criticism. 1.1 Functions of Criticism

1.2 Two Thought Experiments

1.3 Limits of the Lyric Paradigm

1.4 Criticism in the Convenience Store

1.5 Criticism between Page and Screen

NOTES

CHAPTER 2 Makings of the Critical Essay. 2.1 Objects, Occasions, Frames of Reference

2.2 Criticism and the Essay Form

2.3 Critical Questions I

2.4 Critical Questions II

2.5 Critical Judgments

NOTES

CHAPTER 3 Conversations. 3.1 Beyond the Poem Itself

3.2 Coppola Sounds Out Hitchcock

3.3 Austen, Edgeworth, and the Moral Economy of the Novel

NOTES

CHAPTER 4 Adaptations. 4.1 Two-Way Street

4.2 Point of View in Fiction and Cinema: The Remains of the Day

4.3 Frankenstein and Its Adapted Progeny

NOTES

CHAPTER 5 Genres. 5.1 Laws of Genre

5.2 Satire across Media: Character and Impersonation

5.3 Melodrama across Media: Character and Personalization

NOTES

CHAPTER 6 Conclusion Authorship and Seriality—Spike Lee’s Joints. 6.1 Authorship, Seriality, and the Case of Spike Lee

6.2 Some Spike Lee Joints: Conversations and Adaptations

6.3 Crossing Genres in Bamboozled

Coda

Notes

Index

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James Chandler

and those yet to come

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An extreme reaction against the primitive view, at one time associated with the “art for art’s sake” catchword, thinks of art in precisely the opposite terms, as a mystery, an initiation into an esoterically civilized community. Here criticism is restricted to ritual masonic gestures, to raised eyebrows and cryptic comments and other signs of an understanding too occult for syntax. The fallacy common to both attitudes is that of a rough correlation between the merit of art and the degree of public response to it, though the correlation assumed is direct in one case and inverse in the other.32

There is nothing radical about what Frye is claiming here, but there is something attractive about his double formulation of criticism’s role, mediating between populist or consumerist tendencies on the one hand and recherché aesthetic mystification on the other.

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