Selected Letters of William EmpsonJohn Haffenden OUP Oxford, 2006 M03 9 - 792 páginas This edited collection of letters by William Empson (1906-1984), one of the foremost writers and literary critics of the twentieth century, ranges across the entirety of his career. Parts of the correspondence record the development of ideas that were to come to fruition in seminal texts including Seven Types of Ambiguity, The Structure of Complex Words, and Milton's God. The topics of other letters range from Shakespeare's Dark Lady to Marvell's marriage and Byron's bisexuality. Empson relished correspondence that was combative, if not downright aggressive. As a result, parts of this edition take the form of a serial disputation with other critics of the period, including Frank Kermode, Helen Gardner, Philip Hobsbaum, and I. A. Richards. Other notable correspondents include A. Alvarez, Bonamy Dobrée, Leslie Fiedler, Graham Hough, C. K. Ogden, George Orwell, Kathleen Raine, John Crowe Ransom, Christopher Ricks, Laura Riding, A. L. Rowse, Stephen Spender, E. M. W. Tillyard, Rosemond Tuve, John Wain, and G. Wilson Knight. All readers of literary history and criticism will stand to benefit from this edition. Empson is universally credited as the man who 'invented' modern literary criticism, so that all of his writings make a signal addition to the canon of his works. This selection provides a context for the evaluation of Empson's total literary output; and in many letters Empson seeks to defend his ideas against both published and personal attacks. This volume not only fills in all the missing links, it adds up to a completely new volume of critical writings by Empson. |
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Página xv
... never have got round to writing any memoirs. His memory for persons and encounters was selective, and in any case it would have gone against the reticent habits of a lifetime to talk about himself or his personal relationships. Any ...
... never have got round to writing any memoirs. His memory for persons and encounters was selective, and in any case it would have gone against the reticent habits of a lifetime to talk about himself or his personal relationships. Any ...
Página xvi
... never to destroy a single letter ... By the way, what on earth was the disease of Darwin? Was it simply neurotic? They never say, and he seems a very unneurotic man otherwise. Those comments add up to a sly dig at Hayward for his ...
... never to destroy a single letter ... By the way, what on earth was the disease of Darwin? Was it simply neurotic? They never say, and he seems a very unneurotic man otherwise. Those comments add up to a sly dig at Hayward for his ...
Página xxvi
... never been a homogeneous and self-consistent 'tradition' or dominant discourse. A work might be using heterodox ideas ... Empson keeps the particular in focus rather than letting it dissolve into its (supposed) component elements.32 ...
... never been a homogeneous and self-consistent 'tradition' or dominant discourse. A work might be using heterodox ideas ... Empson keeps the particular in focus rather than letting it dissolve into its (supposed) component elements.32 ...
Página xxviii
... never grow into the wise old author (intensely Christian, though in a mystically paradoxical way) who writes the book.'36 Having thus written up his scorn for Kenner's work on Joyce, he was keen for Kenner to be given the chance to ...
... never grow into the wise old author (intensely Christian, though in a mystically paradoxical way) who writes the book.'36 Having thus written up his scorn for Kenner's work on Joyce, he was keen for Kenner to be given the chance to ...
Página xxxiii
... never mind, my dear, I am recovering myself now; if only. 50 The reviewer may have been alluding to Byron's remark on Keats's Endymion: 'such writing is a sort of mental masturbation––he is always f-gg-g his own imagination.––I don't ...
... never mind, my dear, I am recovering myself now; if only. 50 The reviewer may have been alluding to Byron's remark on Keats's Endymion: 'such writing is a sort of mental masturbation––he is always f-gg-g his own imagination.––I don't ...
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