Relevant bibliographies by topics / Bloom, Harold – Criticism and interpretation

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Academic literature on the topic 'Bloom, Harold – Criticism and interpretation'

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Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Bloom, Harold – Criticism and interpretation"

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Jiménez Heffernan, Julián. "Autoridad, poesistocracia y arbitraje: Harold Bloom, lector del "Quijote"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 19 (May 23, 2013): 296. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201319643.

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El presente artículo pretende proporcionar un contexto hermenéutico adecuado a la interpretación que Harold Bloom hizo de Don Quijote en un capítulo sobre Cervantes de The Western Canon (1994). La generalizada recepción negativa que este libro ha tenido en ámbito hispano, en gran medida debido a la denunciada (des)atención del crítico norteamericano hacia las literaturas hispanas, ha provocado una paralela (des)atención de la crítica hispana hacia un ensayo que, sin suponer una contribución decisiva al cervantismo filológico, constituye un valioso juicio implícito sobre el sentido de lo literario. De acuerdo con este juicio, la gran literatura o es violenta inscripción de autoridad o es melancólico duelo ante la defección de la violencia autorial, duelo que con frecuencia adopta la forma de venganza crítica en forma de arbitraje. El presente artículo pretende, pues, situar el ensayo sobre Cervantes en el contexto amplio de toda la producción crítica de Bloom. Dicha contextualización arroja luz tanto sobre la continuidad desconstructiva de la mirada crítica de Bloom como sobre la naturaleza irrenunciablemente anómala del texto cervantino. This article aims to provide an appropriate hermeneutic context to Harold Bloom's interpretation of Cervantes' ​​Don Quixote in a chapter of The Western Canon (1994). The widespread negative reception this book has had in the Hispanic scope, largely due to the reported (un)attention of the American critic to Hispanic literature, has led to a parallel (dis)attention of Hispanic criticism to an essay that, without being a decisive contribution to philological cervantism, provides a useful implicit judgment about the meaning of literature. According to this view, great literature is either violent inscription of authority, or melancholic clash at the defection of authorial violence, a duel that takes often the form of critical vengeance as arbitration. This article therefore aims to situate the essay on Cervantes in the broader context of all critical production by Bloom. Such contextualization sheds light on both deconstructive continuity of Bloom's critical gaze and the undeniably anomalous nature of Cervantes' text.
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Aparecido Silva, Heraldo. "Filosofia Literária: Uma Encruzilhada Entre os Caminhos de Harold Bloom e Richard Rorty." Philosophica: International Journal for the History of Philosophy 26, no. 51 (2018): 55–64. http://dx.doi.org/10.5840/philosophica201826515.

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The aim of this article is to analyze the philosophy of Richard Rorty through the poetic theories of Harold Bloom. It is shown that redescription, the primary means by which Rorty addresses philosophy, pragmatism and culture, can be interpreted as misreading, a revisionist literary tool that implicates appropriation (revision), distortion (deviation), and correction (redirection). Finally, I propose a crossroad between the paths of Bloom and Rorty, a conversation between the Bloomian literary criticism and the Rortyan philosophy: the philosophy as a literary conversation.
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Corder, Jim W. "Learning the Text: Little Notes about Interpretation, Harold Bloom, the Topoi, and the Oratio." College English 48, no. 3 (March 1986): 243. http://dx.doi.org/10.2307/376631.

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Selby, Martha Ann. "Desire for Meaning: Providing Contexts for Prākrit Gāthās." Journal of Asian Studies 55, no. 1 (February 1996): 81–93. http://dx.doi.org/10.2307/2943637.

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In general, readers, commentators, translators, and reviewers are bound to see shadows of themselves or of their own concerns in a poem. A poem is, in fact, a “patch” between desire and reality. Like a dream, a poem can be viewed as “reality encoded” (Skura 1981, 126). The issue is not what is actually on the page, what critic Harold Bloom calls the “manifest text” (Bloom 1987, 3). The poem is really what exists in that misty place between “writing” and “reading,” the “latent text,” the poem that lives in symbol or emblem. Though a poem certainly has a static life on a page, the actual events of reading, interpretation, and commentary are what give a poem a vital historical life. We are fortunate that over a millennium and a half of Sanskrit scholarship has yielded up to us actual records of historical moments of reading. And, since these recorded “moments” have become traditionally attached to various types of printed text, many of these commentaries have become as vital as the text itself. In some instances they have even superseded the text, as is true, I believe, in the case of Abhinavagupta's commentary on Ānandavardhana's Dhvanyāloka.
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Wicher, Andrzej. "The Inverted Initiation Rituals in Shakespeare with a Special Emphasis on Hamlet." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 159–79. http://dx.doi.org/10.18778/2083-8530.23.10.

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The article deals the possibility of applying Vladimir Propp’s, basically anthropological idea of “the inverted ritual” to the interpretation of certain plays by William Shakespeare, particularly Hamlet. The said inversion concerns three rituals: the sacrificial ritual, where the passive and obedient victim suddenly rebels, or at least becomes difficult to control (which is the case, for example, of Ophelia in Hamlet); of the initiatory ritual, where the apparently benevolent master of the characters initiation is shown as a monster (which can be exemplified by Claudius, Hamlet’s uncle); and of the matrimonial ritual, where the theoretically loving husband (more rarely wife), or lover, is revealed as a highly malicious and unpredictable creature, an example of which can be Hamlet himself. The article makes use of the work of such critics as G.K. Wilson, Harold Bloom, Vladimir Propp, René Girard, and Mircea Eliade.
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Wapińska, Malwina. "Bruno Schulz – mistrz, inspirator czy literacki ojciec Jerzego Ficowskiego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 11, 2017): 134–44. http://dx.doi.org/10.24917/20811853.16.10.

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Bruno Schulz – master, inspiration or literary father for Jerzy Ficowski This article explores the artistic relationship between Jerzy Ficowski and Bruno Schulz. For the first time Ficowski came across Schulz’s The Cinnamon Shops in 1942, as a 17 year old adolescent. He remembered that first reading as a moment of epiphany which occurred to be crucial to the whole further Ficowski’s literary biography. The young poet hailed the author of The Cinnamon Shops as his great master, the only one who dared to express the true importance of myth to the artistic imagination in such an unique way. The influence of Schulz’s prose on Ficowski’s poetry was unquestionable. However, this does not mean that Ficowski’s work was secondary to Schulz’s or less original. Jerzy Ficowski, like Schulz, emphasized the importance of childhood and myth in a poet’s imagination. On the other hand, both writers found themselves different ways to express those ideas in artistic way. To analyze the unique nature of artistic relationship between Bruno Schulz and Jerzy Ficowski, I refer to the famous Harold Bloom’s work The Anxiety of Influence. A theory of Poetry.Key words: Jerzy Ficowski; Bruno Schulz; biography; interpretation; fictionalisation; the impact of poetic; Paul Ricoeur; Harold Bloom; psychoanalysis;
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Chandra Julianto. "PERKEMBANGAN PENAFSIRAN KONFESI-KONFESI YEREMIA." Jurnal Amanat Agung 15, no. 1 (June 1, 2019): 1–27. http://dx.doi.org/10.47754/jaa.v15i1.340.

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Konfesi-konfesi Yeremia adalah salah satu bagian teks kenabian Perjanjian Lama yang sulit ditafsirkan makna dan tujuan penulisannya. Para ahli berusaha menggunakan berbagai metode penafsiran dalam mengeksegesis konfesi-konfesi Yeremia. Tulisan ini memaparkan dan meninjau perkembangan metode penafsiran yang digunakan para ahli tersebut, mulai dari penafsiran biografis, penafsiran historis-kritis, hingga penafsiran sinkronik yang ditandai dengan penggunaan analisis retorik. Berdasarkan natur dan karakteristik teks konfesi-konfesi Yeremia, penulis menyimpulkan bahwa analisis retorik adalah metode yang paling tepat dalam menafsirkan makna dan tujuan penulisan konfesi-konfesi Yeremia. Abstract: Jeremiah’s Confessions are considered as some of the most difficult Old Testament texts to be interpreted with respect to their meaning and purpose. Many Old Testament scholars throughout the years have used various methods to exegete Jeremiah’s Confessions. This study aims to present and review these methods, hanging from biographical interpretation, historical criticism method, to the bloom of synchronic interpretation, defined by the use of rhetorical analysis. Based on the text’s nature and characteristic, the study argues that rhetorical analysis is the most suited method to interpret the meaning and purpose of Jeremiah’s Confessions.
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Hauge, Hans. "Alt-i-alt: Et gensyn med Poul Borums syn på Digteren Grundtvig." Grundtvig-Studier 60, no. 1 (January 1, 2009): 188–202. http://dx.doi.org/10.7146/grs.v60i1.16545.

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Alt-i-alt: Et gensyn med Poul Borums syn på Digteren Grundtvig[All in all: Poul Borum''s view of Grundtvig the poet revisited]By Hans HaugePoul Borum was a well-known poet and an influential critic. His book on poetic modernism was a milestone. Few contemporaries associated him with N. F. S. Grundtvig so it was perhaps something of a surprise when in 1983 he published a full-length study of Grundtvig’s texts, focusing upon and rehabilitating Grundtvig the poet. He was of the opinion that literary critics and writers at large as well as established Grundtvig-scholars lacked something.The literary critics knew too little about Grundtvig and did not adequately appreciate him, whereas the scholars were too unfamiliar with contemporary literary criticism. Borum attempted to mediate between the two groups. He was easily familiar with almost all the secondary and scholarly literature on Grundtvig and he was also well versed in contemporary literary criticism and referred to such names as Harold Bloom and Paul de Man. He uses Bloom’s theory of anxiety in his reading of one of Grundtvig’s best-loved hymns and demonstrates how Grundtvig struggled with the influence of the seventeenthcentury hymn-writer Kingo.Borum did not really succeed in achieving deconstructive readings of Grundtvig’s texts; however, he did successfully demonstrate the way in which all Grundtvig’s texts were self-reflexive and he showed how even brief fragments contained the whole - all in all. Whenever Grundtvig wrote something, the text contained poetological elements and he stressed the notion of contemporaneity.The article concludes by discussing how Borum took various critics to task and how he distanced himself from certain contemporary political uses of Grundtvig.
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Hodder, Alan D. "“After a High Negative Way”: Emerson's “Self-Reliance” and the Rhetoric of Conversion." Harvard Theological Review 84, no. 4 (October 1991): 423–46. http://dx.doi.org/10.1017/s0017816000017946.

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The year 1991 marked the sesquicentennial of the publication of the first volume of Emerson's Essays in which appeared, for the first time, “Self-Reliance,” arguably America's most famous essay. Despite the passage of time, this essay has never lost its power to inspire or to enrage. The controversies that continue to swirl around Emerson originate in a few points of contention, but none arouse as much furor as his seemingly innocuous formulation “self-reliance.” From the beginning, Emerson's reception among his readers has been sharply divided. A sampling of studies appearing in the current flood of Emerson criticism suggests that this polarization has never been more characteristic of Emerson's readership than it is currently. On the one hand are those critics of American culture like the late A. Bartlett Giamatti who found Emerson “as sweet as barbed wire” or the sociologist of religion Robert Bellah who located in Emerson the roots of America's most portentous national defects. On the other hand are such notable critics as Harold Bloom, Stanley Cavell, and Richard Poirier who find in Emerson, rightly read and construed, one of the few viable trails left in contemporary culture. The crux of all such articulate responses, whether of detractor or partisan, is the reflexive and seemingly disinterested conception popularized by Emerson as “self-reliance.”
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Slinn, Warwick. "Criticism in Society: Interviews with Jacques Derrida, Northrop Frye, Harold Bloom, Geoffrey Hartman, Frank Kermode, Edward Said, Barbara Johnson, Frank Lentricchia, and J. Hillis Miller (review)." Philosophy and Literature 14, no. 1 (1990): 184–85. http://dx.doi.org/10.1353/phl.1990.0058.

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Dissertations / Theses on the topic "Bloom, Harold – Criticism and interpretation"

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Cashion, Tim. "Rorty, Freud, and Bloom : the limits of communication." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60611.

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The thesis examines the nature of political reform and the role of culture in the liberal utopia envisaged by Richard Rorty in Contingency, Irony, and Solidarity. Rorty's overall project is outlined, and situated within the anti-foundationalist critique that has been the hallmark of his recent career. The perilous position of nonintellectuals within the otherwise-acceptable utopia is detailed. Harold Bloom's conception of the strong poet is then examined and compared to the use Rorty makes of Bloom; I conclude that the faults of the liberal utopia lie primarily in establishing the strong poet as that culture's hero. I turn to Rorty's reading of Sigmund Freud, a reading which consistently inverts Freud's insights in order to make Freud fit into Rorty's plan. Finally, I re-examine Freud and suggest ways in which he can be used to correct the faults of the liberal utopia.
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Lima, Luiz Fernando Martins de [UNESP]. "A recepção crítica de Harold Bloom no meio acadêmico brasileiro." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94043.

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Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-07-29Bitstream added on 2014-06-13T20:15:57Z : No. of bitstreams: 1 lima_lfm_me_assis.pdf: 697871 bytes, checksum: 0bbe9220f62fcc4c0238339196d33e3c (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Harold Bloom (1930) é, para muitos, o crítico norte-americano de maior destaque nos estudos literários da atualidade. Sua teoria da influência, além de possuir sua própria retórica, resgatou à literatura seus aspectos mais subjetivos. O presente trabalho tem por objetivo empreender uma leitura de dissertações e teses acadêmicas brasileiras que tenham lançado mão da teoria da angústia da influência e seu mapa de desleitura, ou que discutam temas como o cânone literário, tão usualmente associado à figura do professor de Yale, enfático debatedor desse assunto. Para esse propósito foi feito o levantamento do corpus por meio de uma pesquisa nos principais sites e bancos de dados científicos brasileiros, como a Plataforma Lattes e o Banco de Tese da CAPES, e estabelecido os critérios de análise com base nas teses e dissertações que compõem esse corpus. A leitura desses trabalhos acadêmicos buscou identificar em que medida o crítico norte-americano está sendo lido no meio acadêmico brasileiro e compreender qual a amplitude dessas leituras. Por conseguinte, esta dissertação tem o intuito de entender qual a relevância das idéias de Bloom para o intelectual brasileiro da área de Letras.
Nowadays, Harold Bloom (1930) is, to many, the North-american critic of major projection in literary studies. His theory of influence, besides to have its own rhethorics, brought back to literature its more subjective aspects. The present work has as its objectives to engage in a reading of Brazilian academic dissertations and thesis which have made usage of the theory of anxiety of influence and his map of misreading, or which discuss themes as the literary canon, so usually associated to the professor of Yale´s figure, an emphatic debater of this subject. With this purpose in mind it was made the survey of the corpus through a research in the main Brazilian scientific websites and databases, like Plataforma Lattes and CAPES thesis database, and it was established the criteria of analysis based upon the thesis and dissertations which compound this corpus. The reading of these academic works sought to identify in what extent the North-American critic is been read in Brazilian academic environment and comprehend how wide have been these readings. Therefore, this dissertation has as its aim to understand how relevant to the Brazilian scholar of Language and Literature the ideas of Bloom area.
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Lima, Luiz Fernando Martins de. "A recepção crítica de Harold Bloom no meio acadêmico brasileiro /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/94043.

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Orientador: João Luís Cardoso Tápias Ceccantini
Banca: Sílvia Maria Azevedo
Banca: Alice Áurea Penteado Martha
Resumo: Harold Bloom (1930) é, para muitos, o crítico norte-americano de maior destaque nos estudos literários da atualidade. Sua teoria da influência, além de possuir sua própria retórica, resgatou à literatura seus aspectos mais subjetivos. O presente trabalho tem por objetivo empreender uma leitura de dissertações e teses acadêmicas brasileiras que tenham lançado mão da teoria da angústia da influência e seu mapa de desleitura, ou que discutam temas como o cânone literário, tão usualmente associado à figura do professor de Yale, enfático debatedor desse assunto. Para esse propósito foi feito o levantamento do corpus por meio de uma pesquisa nos principais sites e bancos de dados científicos brasileiros, como a Plataforma Lattes e o Banco de Tese da CAPES, e estabelecido os critérios de análise com base nas teses e dissertações que compõem esse corpus. A leitura desses trabalhos acadêmicos buscou identificar em que medida o crítico norte-americano está sendo lido no meio acadêmico brasileiro e compreender qual a amplitude dessas leituras. Por conseguinte, esta dissertação tem o intuito de entender qual a relevância das idéias de Bloom para o intelectual brasileiro da área de Letras.
Abstract: Nowadays, Harold Bloom (1930) is, to many, the North-american critic of major projection in literary studies. His theory of influence, besides to have its own rhethorics, brought back to literature its more subjective aspects. The present work has as its objectives to engage in a reading of Brazilian academic dissertations and thesis which have made usage of the theory of anxiety of influence and his map of misreading, or which discuss themes as the literary canon, so usually associated to the professor of Yale's figure, an emphatic debater of this subject. With this purpose in mind it was made the survey of the corpus through a research in the main Brazilian scientific websites and databases, like Plataforma Lattes and CAPES thesis database, and it was established the criteria of analysis based upon the thesis and dissertations which compound this corpus. The reading of these academic works sought to identify in what extent the North-American critic is been read in Brazilian academic environment and comprehend how wide have been these readings. Therefore, this dissertation has as its aim to understand how relevant to the Brazilian scholar of Language and Literature the ideas of Bloom area.
Mestre
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Villa, Silvia Maria Teresa. "Concept of canon in literary studies : critical debates 1970-2000." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7853.

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The present thesis focuses on the critical dialogues on the literary canon developed between 1970 and 2000 in the United States as a crucial juncture for the consolidation of the notion of canon as a scholarly subject matter within the field of literary studies. By taking stock of the abundance of scholarly contributions on the literary canon produced at this time, this thesis pursues two aims: first, it initiates a process of systematisation of the scholarly material on the canon produced during the last thirty years of the twentieth century; second, it focuses on a selection of particularly influential works that have furthered the understanding of specific aspects of the notion of canon. Two introductory chapters outline respectively the historical and the theoretical background of this research. Chapter One explores the historical framework within which the canon started to receive increasing critical attention inside and outside U.S. academia. In particular, it observes how the historical and cultural phenomenon known as the Culture Wars came to bear upon the way in which the notion of canon was perceived and treated by critics and scholars. Early and later examples of canonical criticism are juxtaposed so as to argue that the absorption of debates about the definition of national cultural heritage within U.S. academia influenced the terms in which the canon was being discussed, privileging oppositional rhetorical strategies over the more moderate tones of early theoretical approaches. Chapter Two draws on Jan Gorak’s work in The Making of The Modern Canon: Genesis and Crisis of a Literary Idea (1991) to explore the history of the concept of canon and of its associations with the diverging attitudes adopted by critics in relation to the canon in the period in exam. The second part of this thesis constitutes of three case studies that illustrate the significance for our understanding of the concepts of canon, canonicity and canon formation, of three texts published in the 1990s by Harold Bloom, John Guillory and Henry Louis Gates, Jr. Each chapter observes how these studies contributed to clarify the relationship between the idea of canon and that of tradition, between canon and ideology and, finally, between the canon and the anthology, respectively. Chapter Three locates Bloom’s The Western Canon: The Books and Schools of Ages (1994) in relation to his earlier theory of the anxiety of influence and argues that Bloom’s account of canon formation relies on his definition of tradition as the agonistic struggle between poets and their predecessors. Chapter Four is a close reading of John Guillory’s Cultural Capital: The Problem of Literary Canon Formation (1993) and explores the political ideology underlying its selective use of the work of Pierre Bourdieu, Antonio Gramsci and T.S.Eliot. Finally, Chapter Five engages with Henry Louis Gates, Jr.’s attempt to establish a canon of African American Literature through his role as editor of the Norton Anthology of African American Literature (1996).
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Cohen, Hella Bloom. "Private Affections: Miscegenation and the Literary Imagination in Israel-Palestine." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500171/.

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This study politicizes the mixed relationship in Israeli-Palestinian literature. I examine Arab-Jewish and interethnic Jewish intimacy in works by Palestinian national poet Mahmoud Darwish, canonical Israeli novelist A. B. Yehoshua, select anthologized Anglophone and translated Palestinian and Israeli poetry, and Israeli feminist writer Orly Castel-Bloom. I also examine the material cultural discourses issuing from Israel’s textile industry, in which Arabs and Jews interact. Drawing from the methodology of twentieth-century Brazilian miscegenation theorist Gilberto Freyre, I argue that mixed intimacies in the Israeli-Palestinian imaginary represent a desire to restructure a hegemonic public sphere in the same way Freyre’s Brazilian mestizo was meant to rhetorically undermine what he deemed a Western cult of uniformity. This project constitutes a threefold contribution. I offer one of the few postcolonial perspectives on Israeli literature, as it remains underrepresented in the field in comparison to its Palestinian counterparts. I also present the first sustained critique of the hetero relationship and the figure of the hybrid in Israeli-Palestinian literature, especially as I focus on its representation for political options rather than its aesthetic intrigue. Finally, I reexamine and apply Gilberto Freyre in a way that excavates him from critical interment and advocates for his global relevance.
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Marie, Annika. "The most radical act: Harold Rosenberg, Barnett Newman and Ad Reinhardt." Thesis, 2006. http://hdl.handle.net/2152/3456.

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Heistein, Sue. "Texts, strategies, rules." Master's thesis, 1991. http://hdl.handle.net/1885/139472.

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Nel, Johannes Erasmus. "Harold Pinter : breading strategies with reference to The Birthday party, The Homecoming and One for the road." Thesis, 1989. http://hdl.handle.net/10386/2131.

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Krüger, Johanna Alida. "The Actual versus the Fictional in Betrayal, The Real Thing and Closer." Thesis, 2014. http://hdl.handle.net/10500/18570.

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Text in English
Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)
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Kruger, Johanna Alida. "The Actual versus the Fictional in Betrayal, The Real Thing and Closer." Thesis, 2014. http://hdl.handle.net/10500/18570.

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Text in English
Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays.
Afrikaans and Theory of Literature
D. Litt. et Phil. (Theory of Literature)
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Books on the topic "Bloom, Harold – Criticism and interpretation"

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Autonomie und Tradition: Innovativer Konservatismus bei Rudolf Borchardt, Harold Bloom und Botho Strauss. Würzburg: Königshausen & Neumann, 2009.

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Schirrmacher, Frank. Schrift als Tradition: Die Dekonstruktion des literarischen Kanons bei Kafka und Harald Bloom. Frankfurt am Main: [s.n., 1987.

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Bolla, Peter De. Harold Bloom: Towards historical rhetorics. London: Routledge, 1988.

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Bolla, Peter De. Harold Bloom: Towards historical rhetorics. London: Routledge, 1988.

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Graham, Allen. Harold Bloom: Poetics of conflict. New York: Harvester Wheatsheaf, 1994.

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Harold Bloom: The rhetoric of Romantic vision. Amherst: University of Massachusetts Press, 1985.

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The saving lie: Harold Bloom and deconstruction. Evanston, Ill: Northwestern University Press, 2011.

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Bielik-Robson, Agata. The saving lie: Harold Bloom and deconstruction. Evanston, Ill: Northwestern University Press, 2011.

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Reading, writing and the influence of Harold Bloom. Manchester: Manchester University Press, 2010.

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Wamberg, Jacob. Doris Bloom. København: P. Fogtdal, 1991.

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Book chapters on the topic "Bloom, Harold – Criticism and interpretation"

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Sawyer, Robert. "Looking for Mr. Goodbard: Swinburne, Resentment Criticism, and the Invention of Harold Bloom." In Harold Bloom’s Shakespeare, 167–80. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-137-03641-4_13.

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"Harold Bloom." In Criticism & Society, 57–86. Routledge, 2013. http://dx.doi.org/10.4324/9781315016009-9.

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"Harold Bloom: Critics, Bards, and Prophets." In Volume 12, Tome IV: Kierkegaard's Influence on Literature, Criticism and Art, 67–96. Routledge, 2016. http://dx.doi.org/10.4324/9781315234816-11.

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Graef, Ortwin de. "7. The Yale Critics? J. Hillis Miller, Geoffrey Hartman, Harold Bloom, Paul de Man." In Modern North American Criticism and Theory, 40–49. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-008.

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Stavans, Ilan. "8. The critic’s “I”." In Jewish Literature: A Very Short Introduction, 81–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780190076979.003.0009.

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“The critic’s “I”” argues that Jewish literature is not only what writers and readers do, but also the degree to which critics are constantly contextualizing it. Cultural thinkers like Walter Benjamin, Hannah Arendt, Irving Howe, and Alfred Kazin, through a discerning “I” and a penetrating eye, allow literature to speak to society and vice versa. There is an important role for public intellectuals who have a connections with, or away from, institutions of higher learning. It is worth looking at the cases of Susan Sontag and Harold Bloom. Without criticism, literature is incapable of lasting meaning. In the case of Jewish literature, critics become torchbearers of transnational ideas.
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"realities they name. Though corrupt, they remain dictions, fissures, discord, repressions, aporias, etc. divinely given and the poet’s burden is to purify the Inasmuch as their response is a product of their language of his own tribe. Words have been ‘wrested time, so is mine for I remain caught up in a vision of from their true calling’, and the poet attempts to the poem I had during my graduate years at the wrest them back in order to recreate that natural lan-University of Cambridge when I began seriously to guage in which the word and its reality again merge. read it. What I had anticipated to be an obscure alleg-Like Adam, he gives names to his creatures which ory that could be understood only by an extended express their natures. His word-play is a sustained study of its background became more clear the more and serious effort to plant true words as seeds in the I read it until I had the sense of standing at the reader’s imagination. In Jonson’s phrase, he ‘makes centre of a whirling universe of words each in its pro-their minds like the thing he writes’ (1925– per order and related to all the others, its meanings 52:8.588). He shares Bacon’s faith that the true end constantly unfolding from within until the poem is of knowledge is ‘a restitution and reinvesting (in seen to contain all literature, and all knowledge great part) of man to the sovereignty and power (for needed to guide one’s personal and social life. In the whensoever he shall be able to call the creatures by intervening years, especially as a result of increasing their true names he shall again command them) awareness of Spenser’s and his poem’s involvement which he had in his first state of creation’ (Valerius in Ireland, as indicated by the bibliographies com-Terminus). Although his poem remains largely piled by Maley in 1991 and 1996a, and such later unfinished, he has restored at least those words that studies as McLeod 1999:32–62, but best shown in are capable of fashioning his reader in virtuous and Hadfield 1997, I have come to realize also the pro-gentle discipline. What is chiefly needed to under-found truth of Walter Benjamin’s observation that stand the allegory of The Faerie Queene fully is to ‘there is no document of civilization that is not at the understand all the words. That hypothesis is the basis same time a document of barbarism’. The greatness of my annotation. of The Faerie Queene consists in being both: while it My larger goal is to help readers understand ostensibly focuses on Elizabeth’s court, it is impos-why Spenser was honoured in his day as ‘England’s sible even to imagine it being written there, or at any Arch-Poët’, why he became Milton’s ‘Original’ and place other than Ireland, being indeed ‘wilde fruit, the ‘poet’s poet’ for the Romantics (see ‘poet’s poet’ which saluage soyl hath bred’ (DS 7.2). in the SEnc), and why today Harold Bloom 1986: If Spenser is to continue as a classic, criticism must 2 may claim that he ‘possessed [mythopoeic power] continue to recreate the poem by holding it up as a . . . in greater measure than any poet in English mirror that first of all reflects our own anxieties and except for Blake’, and why Greenblatt 1990b:229 concerns. It may not be possible, or even desirable, may judge him to be ‘among the most exuberant, to seek a perspective on the poem ‘uncontaminated generous, and creative literary imaginations in our by late twentieth century interests and beliefs’, as language’. Stewart 1997:87 urges, and I would only ask with As I write in a year that marks a half century of my him that we need to be aware of ‘historical voices engagement with the poem, I have come to realize other than our own, including Spenser’s’. As far as the profound truth of Wallace Stevens’s claim that possible criticism should serve also as a transparent ‘Anyone who has read a long poem day after day glass through which to see what Spenser intended as, for example, The Faerie Queene, knows how the and what he accomplished in ‘Fashioning XII Morall poem comes to possess the reader and how it nat-vertues’. Of course, we cannot assume that under-uralizes him in its own imagination and liberates standing his intention as it is fulfilled in the poem him there’ (1951:50). It has been so for me though, necessarily provides a sufficient reading, but it may I also recognize, not for many critics today whose provide a focus for understanding it. Contemporary engagement with the poem I respect. With Mon-psychological interpretation of the poem’s characters trose 1996:121–22, I am aware that ‘the cultural reads the poem out of focus, and the commendable politics that are currently ascendant within the aca-effort to see the poem embedded in its immediate demic discipline of literary studies call forth condem-sociopolitical context, chiefly Spenser’s relation to nations of Spenser for his racist / misogynist / elitist the Queen, fails to allow that he wrote it ‘to liue with." In Spenser: The Faerie Queene, 40. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-38.

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