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Anatomy of Criticism: Four Essays –…
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Anatomy of Criticism: Four Essays (alkuperäinen julkaisuvuosi 1957; vuoden 2000 painos)

– tekijä: Northrop Frye (Tekijä)

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
1,302911,132 (4)19
Striking out at the conception of criticism as restricted to mere opinion or ritual gesture, Northrop Frye wrote this magisterial work proceeding on the assumption that criticism is a structure of thought and knowledge in its own right. In four brilliant essays on historical, ethical, archetypical, and rhetorical criticism, employing examples of world literature from ancient times to the present, Frye reconceived literary criticism as a total history rather than a linear progression through time. Literature, Frye wrote, is "the place where our imaginations find the ideal that they try to pass on to belief and action, where they find the vision which is the source of both the dignity and the joy of life." And the critical study of literature provides a basic way "to produce, out of the society we have to live in, a vision of the society we want to live in." Harold Bloom contributes a fascinating and highly personal preface that examines Frye's mode of criticism and thought (as opposed to Frye's criticism itself) as being indispensable in the modern literary world.… (lisätietoja)
Jäsen:100sheets
Teoksen nimi:Anatomy of Criticism: Four Essays
Kirjailijat:Northrop Frye (Tekijä)
Info:Princeton University Press (2000), Edition: Revised, 400 pages
Kokoelmat:Oma kirjasto
Arvio (tähdet):
Avainsanoja:to-read, lit-crit

Teoksen tarkat tiedot

Anatomy of Criticism: Four Essays (tekijä: Northrop Frye (Author)) (1957)

Viimeisimmät tallentajatwyclif, yksityinen kirjasto, Carolingian_Dan, tomtk, JulieBea, js31550, dahmast, HobbyHorse33, UpperGreyLibrary, KelleyDoan
PerintökirjastotRalph Ellison
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Näyttää 1-5 (yhteensä 9) (seuraava | näytä kaikki)
"Evil may yet be good to have been and yet remain evil." That's how I feel about having read this book.

If you hover over the stars of Goodread's rating system, each rating is described in terms of how much one "likes" a given book. These descriptions are inadequate. I chose 3 stars for this book not because I liked it – in truth, much of it I despised while reading it, insofar as it evoked any emotion from me – but because I did find some useful portions within the somewhat absurdly complex system ... ahem, "anatomy" ... that Frye creates.

As has been my wont with works upon which I don't feel wholly equipped to offer meaningful commentary, I will simply provide below some enjoyable, or at least useful, quotes from the book itself.

p. 33: In literary fictions the plot consists of somebody doing something. The somebody, if an individual, is the hero, and the something he does or fails to do is what he can do, or could have done, on the level of the postulates made about him by the author and the consequent expectations of the audience. Fictions, therefore, may be classified, not morally, but by the hero's power of action, which may be greater than ours, less, or roughly the same.

p. 74: Literary meaning may best be described, perhaps, as hypothetical, and a hypothetical or assumed relation to the external world is part of what is usually meant by the word "imaginative."

p. 82: Aristotle speaks of mimesis praxeos, an imitation of action, and it appears that he identifies this mimesis praxeos with mythos.... Human action (praxis) is primarily imitated by histories, or verbal structures that describes specific and particular actions. A mythos is a secondary imitation of an action, which means, not that it is at two removes from reality, but that it describes typical actions, being more philosophical than history. Human thought (theoria) is primarily imitated by discursive writing, which makes specific and particular predictions. A dianoia is a secondary imitation of thought, a mimesis logos, concerned with typical thought, with the images, metaphors, diagrams, and verbal ambiguities out of which specific ideas develop.

p. 243: The present book employs a diagrammatic framework that has been used in poetics ever since Plato's time. This is the division of "the good" into three main areas, of which the world of art, beauty, feeling, and taste is the central one, and is flanked by two other worlds. One is the world of social action and events, the other the world of individual thought and ideas. Reading from left to right, this threefold structure divides human faculties into will, feeling, and reason. It divides the mental constructs which these faculties produce into history, art, and science and philosophy. It divides the ideals which form compulsions or obligations on these faculties into law, beauty, and truth. Poe gives his version of the diagram (right to left) as Pure Intellect, Taste, and the Moral Sense.... Similarly, we have portrayed the poetic symbol as intermediate between event and idea, example and precept, ritual and dream, and have finally displayed it as Aristotle's ethos, human nature and the human situation, between and made up of mythos and dianoia, which are verbal imitations of action and thought respectively.

p. 347: The ethical purpose of a liberal education is to liberate, which can only mean to make one capable of conceiving society as free, classless, and urbane. No such society exists, which is one reason why a liberal education must be deeply concerned with works of imagination. The imaginative element in works of art, again, lifts them clear of the bondage of history. ( )
  octoberdad | Dec 16, 2020 |
Classic. ( )
  scottcholstad | Jan 12, 2020 |
I suppose this is one of the canonical works in the genre of "lit crit": in the sense that any aspiring critique professionnelle would feel compelled to have grappled with it at one point or another in his/her ascent of Parnassus. It claims to eschew "practical criticism" and pretty much succeeds in that, except that Frye flags a little in Section 4 when he talks about genres and deigns to make some pertinent comments about specific works. The entire thing seems to be an effort to construct scaffolding that would enable the practitioner to situate any given work within a four-dimensional schema of modes, symbols,, myths and genres. All this to aspire to a "scientific" approach to the study of literature; and I suppose it is scientific in the sense of being taxonomic. Be sure to bookmark the glossary at the back of the book, because you will have frequent recourse to reminding yourself of the significance of such terms as epos, opsis, melos, anagogic, and a bunch more. ( )
  jburlinson | Jun 9, 2017 |
This is a massively well-informed, highly readable work. Frye intended to follow in the footsteps of Aristotle's Poetics and expand its coverage of tragedy to cover all the major forms of (Western) literature with a general theory of its various forms and major themes. It is a major achievement and well worth reading.

However... as a tool of a critic it's nearly useless: it may say something about a book that you can slot it in as a Fryeian Romance, but most of the interesting things to say about a work are about its particularities rather than its generalities, and the Anatomy (like many works of theory) is all about generalities, commonalities which connect works together, so at best it can provide only a context for the actual work of criticism. In this sense it (unavoidably) failed at Frye's ultimate goal, which was to establish Literary Criticism as its own independent discipline.

In many ways it's the opposite of New Historicism: the latter tends to absorb the study of the work into the study of its historical background, using the work as an illumination on social history, whereas the Fryeian project was to extract a taxonomy of works which was independent of "local" cultures but held up across the 2,800 years of western literary genres. Nor can Frye's work be considered a branch of Structuralism: it antedates by 15 years Levi-Strauss' Structuralism and Ecology and it betrays no visible influence of Saussure. ( )
1 ääni jsburbidge | Dec 30, 2015 |
On trying to read Northrop Frye 30 years after European critical theory stormed the gates of the academy, leaving the humanities, which were retrospectively ripe for collapse, in a kind of fall-of-Rome state of confusion and disillusionment, I was actually reminded (again - it comes up often for me these days) of Shelley’s poem:

My name is Ozymandias, king of kings
Look on my works, ye mighty, and despair!

Nothing beside remains – round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.


The Classically-descended celestial clockwork world Frye created his magisterial critical system from and for is vanishing before our eyes, like Newton’s universe did after Einstein. Like many elaborate attempts to model some aspect of the world in a system, this one’s biggest, most ironic flaw is its failure to take the defining reality of time into account. But maybe actually a Copernican metaphor is better here – Frye, like Harold Bloom, and then a bevy of less intelligent and more reactionary late 20th century culture warriors, saw Western literature at the center of something that has been revealed to have no permanent center – human history.

There’s no bringing back the past, but Frye’s system does offer anybody who has more than a beach reader’s interest in Western literature some clever and useful ways to think about the forms it has taken and the techniques that have been applied in it from pre-history to the 20th century modernists, anyway. (Whether Frye’s project has any relevance to other literary traditions I can’t say.) Thank goodness Anatomy of Criticism has a good Wikipedia page. I'd recommend that. You get the gist of the system without every tedious example or obsolete hypothesis. That’s enough.
( )
1 ääni CSRodgers | May 3, 2014 |
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» Lisää muita tekijöitä (3 mahdollista)

Tekijän nimiRooliTekijän tyyppiKoskeeko teosta?Tila
Frye, NorthropTekijäensisijainen tekijäkaikki painoksetvahvistettu
Rosa-Clot, PaolaKääntäjämuu tekijäeräät painoksetvahvistettu
Stratta, SandroKääntäjämuu tekijäeräät painoksetvahvistettu
Sinun täytyy kirjautua sisään voidaksesi muokata Yhteistä tietoa
Katso lisäohjeita Common Knowledge -sivuilta (englanniksi).
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Palkinnot ja kunnianosoitukset
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HELENAE UXORI
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Polemical Introduction
This book consists of "essays," in the word's original sense of a trial or incomplete attempt, on the possibility of a synoptic view of the scope theory, principles, and techniques of literary criticism.
First Essay
HISTORICAL CRITICISM: THEORY OF MODES
FICTIONAL MODES: INTRODUCTION
In the second paragraph of the Poetics Aristotle speaks of the differences in works of fiction which are caused by the different elevations of the characters in them.
Foreword by Harold Bloom to the 2000 edition
NORTHROP FRYE IN RETROSPECT
The publication of Northrop Frye's Notebooks troubled some of his old admirers, myself included.
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Striking out at the conception of criticism as restricted to mere opinion or ritual gesture, Northrop Frye wrote this magisterial work proceeding on the assumption that criticism is a structure of thought and knowledge in its own right. In four brilliant essays on historical, ethical, archetypical, and rhetorical criticism, employing examples of world literature from ancient times to the present, Frye reconceived literary criticism as a total history rather than a linear progression through time. Literature, Frye wrote, is "the place where our imaginations find the ideal that they try to pass on to belief and action, where they find the vision which is the source of both the dignity and the joy of life." And the critical study of literature provides a basic way "to produce, out of the society we have to live in, a vision of the society we want to live in." Harold Bloom contributes a fascinating and highly personal preface that examines Frye's mode of criticism and thought (as opposed to Frye's criticism itself) as being indispensable in the modern literary world.

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