Literary Criticism Quotes
The best sayings about Literary Criticism that you can share on Instagram, Pinterest, Facebook and other social networks!
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My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.
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Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.
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There is far too much literary criticism of the wrong kind. That is why I never could have survived as an academic.
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We have our little theory on all human and divine things. Poetry, the workings of genius itself, which, in all times, with one or another meaning, has been called Inspiration, and held to be mysterious and inscrutable, is no longer without its scientific exposition. The building of the lofty rhyme is like any other masonry or bricklaying: we have theories of its rise, height, decline and fall -- which latter, it would seem, is now near, among all people.
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The great critic … must be a philosopher, for from philosophy he will learn serenity, impartiality, and the transitoriness of human things.
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I demand that my books be judged with utmost severity, by knowledgeable people who know the rules of grammar and of logic, and who will seek beneath the footsteps of my commas the lice of my thought in the head of my style.
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Strict rules of evidence would destroy psychoanalysis and literary criticism.
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Strict rules of evidence would destroy psychoanalysis and literary criticism.
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There is then creative reading as well as creative writing. When the mind is braced by labor and invention, the page of whatever book we read becomes luminous with manifold allusion. Every sentence is doubly significant, and the sense of our author is as broad as the world.
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There's a certain kind of conversation you have from time to time at parties in New York about a new book. The word "banal" sometimes rears its by-now banal head; you say "underedited," I say "derivative." The conversation goes around and around various literary criticisms, and by the time it moves on one thing is clear: No one read the book; we just read the reviews.
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Fiction writers have their own world, and poets have their own world, and literary criticism has sort of passed over into cultural studies in the university, and so on. They seem more disconnected from each other than they did when I first began to write.
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There is creative reading as well as creative writing.
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A literary woman's best critic is her husband.
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Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
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What I teach is literary criticism and comparative literature and so on and that's my function, but from time to time it's possible for me actually to help a writer. I read something and something strikes me then, I feel I can talk to that writer about it.
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The asymmetries of power that have shaped relations between the West and the rest of the world also exist in the realm of literary criticism.
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A bad short story or novel or poem leaves one comparatively calm because it does not exist, unless it gets a fake prestige throughbeing mistaken for good work. It is essentially negative, it is something that has not come through. But over bad criticism one has a sense of real calamity.
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If you're, like, a PhD student in English, and you look at each instance that Richard Yates is mentioned in the book...it has sort of it's own narrative that one could analyze and write literary criticism about.
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In many ways, Eulah-Beulah prepared me for literary criticism. After having a two-hundred-pound babysitter fart on your face and yell Pow!, The Village Voice holds few terrors.
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Jacques Derrida is a very important thinker and philosopher who has made serious contributions to both philosophy and literary criticism. Roland Barthes is the one I feel most affinity for, and Michel Foucault, well, his writing influenced my novel, 'Middlesex.'
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Criticism even should not be without its charms. When quite devoid of all amenities, it is no longer literary.
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Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of MSA (media-specific analysis). Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view.
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Poetry is not a turning loose of emotion, but an escape from emotion.
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Literary criticism can be no more than a reasoned account of the feeling produced upon the critic by the book he is criticising.
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One of the functions of literary criticism, or reviewing, generally - and I, most of my reviews actually are not about literature - but one of the functions of that is basically the sort of Consumer Reports function of letting readers know whether this is something they want to read.
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Poststructuralism. . . . is a form of literary criticism that uses elaborate wordplay to prove its central premise, that all language is internally contradictory and has no fixed meaning.
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If I like a movie, I'm definitely advocating for it, but it's not "you should see this" or "you shouldn't see this." I try to take a longer view about what the movie is doing and where it fits in the context of other things, in the way that certain good literary criticism tries to do the same thing.
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The literary wiseacres prognosticate in many languages, as they have throughout so many centuries, setting the stage for new hautmonde in letters and making up the public's mind.
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The question of manuscript changes is very important for literary criticism, the psychology of creation and other aspects of the study of literature.
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I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully.
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