James Chandler - 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 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
andHitchcock’s
screen adaptations of Mary Shelley’s Frankenstein and
Ishiguro’s
;
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 Helping students of literature and cinema write well about what they find in their reading and viewing,
:
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

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Guide

1 Cover

2 Title page

3 Copyright

4 Dedication

5 Table of Contents

6 Preface

7 Acknowledgments

8 Begin Reading

9 Index

10 End User License Agreement

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Preface

This is a book about the act of criticism, about what might be worth saying in the encounter with a poem, a novel, a play, a film, or a television series. This act of saying can assume many forms, but I attend most keenly to it when it assumes the form of a critical essay. At the same time, I also stress that there are no fixed rules for what counts as a critical essay. An essay can be a short review, an artful fragment, a course paper, or a long scholarly article. Sometimes the critical essay appears as a dialogue—as in Henry James’ published Conversation about George Eliot’s Daniel Deronda . Scripted critical conversations can also be embedded in a film, or a novel, or a television series episode. Think of critical discussions of contemporary poets in the Bath sitting room of a Jane Austen novel, or arguments about the relative merits of contemporary rappers on the Brooklyn streets of a Spike Lee film. Such embedded moments, indeed, can convey a sense of criticism’s relation to everyday life, how it matters in and to everyday life—a recurring theme in this book.

The critical essay can assume other forms as well. In a once familiar but now unfashionable case, Alexander Pope’s Essay on Criticism (1711), composed by the poet in heroic couplets at the age of twenty-three, it takes the form of a poem, one that includes the following memorable couplet:

’Tis with our judgments as our watches, none

Go just alike, but each man trusts his own.

Pope’s witty conceit allows me to pose another central question of this book: what makes criticism tick? The question of course presumes that criticism is actually still ticking, which perhaps does not always go without saying these days. I address that question about criticism’s possible demise, too, and also, though less explicitly, that of why it is that the analogy of critical judgment to the mechanism of an eighteenth-century timepiece, with its underlying assumption of fixed rules in both cases, is ultimately inadequate.

This book began with an invitation to write one toward a slightly different title, How to Do Criticism , for a series at Blackwell. Prior entries in the series had included David Damrosch’s How to Read World Literature and Wolfgang Iser’s How to Do Theory , books that proved it was possible to get a lot done in an introductory format. Blackwell’s specific proposal to me offered the prospect of doing something in support of what had come to seem a beleaguered intellectual enterprise. My only condition, on accepting the charge, was that the book must embrace both literary criticism and criticism in the screen arts, especially cinema. Although it eventually evolved beyond its initial brief, the book also profited by that first conception. The ambition was to reach a range of readers, including undergraduate students and non-academics, with an accessible approach to the subject, but without confining discussion to strictly elementary matters—and yes, to include some “how to” advice for undertaking criticism in the present time.

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