Harold Bloom

1. L'ideologia dentro la critica dell'ideologia 2. La questione della prospettiva e il problema del tempo 3. Lo specchio e la lampada. La Widerspiegelungstheorie 4. Una mimesis dialettica, oltre soggettivismo e rispecchiamento meccanico 5. La narrazione e l'oggetto particolare 6. Il caso e la necessità. Confronto con Giacomo Debenedetti 7. L'estetica di Lukács critica del necessitarismo e del casualismo volgari 8. L'Interno e l'Esterno in prospettiva dialettica 9. Oltre il naturalismo e l'arte di tendenza. La «totalità intensiva» 10. Sublimazione idealistica e unilateralità dell'arte. Lo smarrimento dell'Intero 11. Il sognare ad occhi aperti e l'idealismo del Dover-essere 12. La partigianeria dell'oggettività. Il realismo di Tolstoj e di Philip Roth 13. Ben oltre Ždanov e ben oltre Trotsky. Lo Spirito assoluto 14. La lezione di Lukács. Il coraggio e l'importanza dell'eredità

This dissertation seeks to examine the canons of knowledge that have traditionally dominated Western culture, and asks whether it is possible to maintain such a canon in today’s fragmented, relativist society, especially one in which huge quantities of information are available at the touch of a button. It studies not only the conventional indicators, such as school and university curricula, but also the questions used in successful, prestigious quiz shows on TV and radio. The changing emphasis of these questions, and the social assumptions that underpin them, are discussed in the context of thinkers such as T.S. Eliot, Harold Bloom and Pierre Bourdieu, as well as members of the Frankfurt and Birmingham Schools. Social class, gender and age are considered as factors that affect the knowledge of individuals and thus their status in situations where specific types of knowledge are valued; and the impact of neoliberal economics is also taken into account.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

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This paper will describe how the concept of literary canon cannot hold a possibility of infinite readings. This is so because the mental acts of individuation, choosing concrete literary objects, and the cultural practice of reading, are components necessarily embedded in the western tradition that permit the creation both of a canonical corpus, as a delimited set of objects, and the existence of “canon” as an abstract and fluid concept. It is therefore not surprising that the composition of most of that canon is made of western works, as the concepts of literature, as related to a specific intellectual tradition, and canon are originally created in the West. Therefore, modern post-foucauldian worries on the risk of current efforts of re-canonization being also part of a regime of truth seem to miss the point, as the pre-conditions for the establishment of what we know as the literary, as well as the possibilities allowed by the establishment of the concrete canon itself - including literature, philosophy, and religious texts - is not only what allows the concept of truth and its pursuit, but also the sort of foucauldian or descontrutivist criticism of that concept. The paper will thus attempt to make a retrospect of the particular nodes of the canon that allow this, referencing contemporary critics such as Clementh Brooks, Harold Bloom, Foucault, Derrida and Gadamer.

When Bloom (1998) claims that Shakespeare invented our sense of personality, he appears to be chiefly referring to a characteristic inwardness which underlies a constant process of personal change that finds in Shakespearean characters not only its first dramatic representation but also its most comprehensive one. We may add something more to Bloom’s appreciation and say that all Shakespearean characters are not just individually different from each other, having their own particular personality traits, but also exhibit a range of different personalities within their personalities as they fulfil roles as parents, siblings, spouses, rulers and subjects. It is not difficult to observe that such roles would immediately imply relationships between characters and, in this way, the aforementioned inwardness is enriched and balanced with a constant presence of the other as the alternative force behind dramatic action.

Are imagining and misimagining two elements of imagination which differ from each other so much, that they establish two different imaginations? Or do they characterise two disparate imagining subjectivities? The eponymous distinction, together with questions arising around it, inspired this book. In the following pages I investigate imagination at work, and trace how other authors approached dynamics of poetic imagination. The area of research includes philosophy, aesthetics, theory of literature, and literature. Furthermore, the main threads are established by reciprocal connections between subjectivity and imagination, the creative act and created work, and between the poem and poet. I consider the creative subject and imagination to be two sides of the same coin, as they are inextricably interwoven. However, imagining and misimagining interweaves them using different patterns. Imagining is a mature ability of autonomous, transcendental subjectivity, which is not influenced by its own creative power. At the same time, it is capable of creating the irreality, or, of multiplying the being. The imagining focuses on originality of the image standing behind the literary work, rather than on the work itself. Hence, the unique approach of the author, and different rules of each imaginary world, make these works incomparable to anything else: they have no origins and no future. The autonomy of imagination, and complete originality of the vision, are main characteristics of imagining. They also become ideal, but impossible to reach, goals of misimagining, when supplied with creation of new poetic language. The process of misimagining bases on transformation of subjectivity, literary work and tradition by means of imagination. The imagination itself is here influenced by changes it provokes, as the dynamics of each element have an impact on the others. Literary work and its creator are permanently " works in progress " , conditioned by multiple relationships. The misimagining subjectivity begins as weaker than imagining one, because it is conditioned by its own imaginary activity. It is created like works of art: it lapses from language patterns and traditional imaginarium, and then moves to filling the lapse with its own activity. Hence, misimagining opens the poem for tradition and enables interpretation of the creative process in context of other works. I discuss the subject and its autoconstitutive activity as structured similarly to cogito, while the indubitable activity are thinking, imagining, being influenced, or influencing the others. The vagueness and distance of mediation widen respectively: starting from clear and autoreflective

A canonical critical approach to a canonical author was defined by Harold Bloom as a combination of two critical standpoints. One aspect concerns the critic’s ability to solve formal and phenomenological issues which arise in a work of art. The other one refers to the critic’s capacity of making value judgments on literary works on moral grounds. My preferred approach
in this presentation is of ‘the compare and contrast’ type, as critics from two different cultural paradigms (late Neoclassicism and early Romanticism) are weighed against each other. While
Johnson is concerned with the issue of the three unities and with the moral dimension of Shakespeare’s plays, Coleridge attempts a reconstruction of Shakespeare’s original intention and builds on the hypothesis that as concerns poetry pleasure precedes truth. The main aim of this article is bringing together two critics having different personalities, united by a common interest: taking Shakespeare away from accessibly appreciatively-naïve criticism and promoting a truly critical approach to the author. Their views are also canonical as they understood and incorporated two of Shakespeare’s registers that are the sage discourse and the passionate language of nature. Apart from this, the two critics managed, I think, successfully, to build the basis of a tradition in literary criticism. Since the conference’s theme is labeled Genres and Historicity: Text, Cotext, Context, I thought it would be interesting to refer to the above mentioned aspects which mainly focus on criticism as an emerging genre.

Effi Briest is a celebrated work of realism and is considered the best novel of Theodor Fontane. Published back in 1894 the work still enjoys an important role in today's world. Effi Briest has joined the canon literature due to its highly controversial themes that are still relevant in today's world. This paper attempts to explore Fontane's masterpiece Effi Briest providing a thematic analysis of the novel and highlighting elements that led to the canonization of the novel.

... Title: Shakespeare: The Invention of the Human (review) ... mous (or infamous) for deidealizing the imaginations of canonical European, British, and American writers as ... almost unprecedented fash-ion, his precursor in this matter being Chaucer, Shakespeare invents characters ...

Este ensayo, instructivo y práctico a un tiempo, no va destinado a los medios eruditos y universitarios, sino al público en general amante de la lectura, al que ofrece un brillante análisis de las obras literarias fundamentales. El propósito de Bloom es enseñar a los lectores la manera de introducirse en el campo de la gran literatura para que puedan encontrar por sí mismos lo que tantos buscan: una concepción más firme y precisa de su propio ser. HAROLD BLOOM PREFACIO PRÓLOGO: ¿POR QUÉ LEER? I CUENTOS INTRODUCCIÓN IVAN TURGUÉNIEV ANTÓN CHÉJOV GUY DE MAUPASSANT ERNEST HEMINGWAY FLANNERY O´ CONNOR VLADIMIR NABOKOV JORGE LUIS BORGES TOMMASO LANDOLFI ITALO CALVINO OBSERVACIONES SUMARIAS II POEMAS INTRODUCCIÓN Para Miriam Brutu Hansen

הנתניהוז, בלום והקטסטרופה הבאה אריה דובנוב • הזמן הזה

Review essay on Joshua Cohen's novel, "The Netanyahus: An Account of a Minor and Ultimately Even Negligible Episode in the History of a Very Famous Family" (and Israel in the mind of Jewish-American authors)

Pro}i:m-Dtpartammtode~ f..lni<umiiWJN:tcimd AMonserr.11 Oroó&zin mtmoriam sostenida por el prestigio de Pound y .Eliot, y elaborada en términos formal~de nuo del campo académ[co porCieanrh Brooks, Yvor Winters y otros.' La labor de Bloom, enhcu2l noesruvo solo, sino, al contrario, muy bien acompañado, a veces p~cedido, por figuras como Nonhrop Frye, M.H. Ab:ranu y Geoffrey Hartman, por ejemplo, no sólo abrió el campo pm.larewlor ación de Bl2ke y de SheJiey, sino que culminó con una romantizació n notable de los estudios literarios, por lo menos en dos sentidos: como interés renovado por la poesía romántica ingle~a. con una consecuente proliferación de trabajos críticos al respectO, y, en segundo lugar, como un resurgimiento y actualización de formas retÓricas y modos de concepción de lo poético propios de la estética romántica. 2 Bloom inicia 'iU libm 1he 1fi:rtem Omon con un:aE/egf4 por el canon.

Ο Χάρολντ Μπλουμ (δεξιά) με τον Τζον Γουόρντ της Oxford University Press, στη Νέα Υόρκη, 17 Απριλίου 1970. © John Sotomayor / The New York Times «καὶ ἐπηρώτα αὐτόν· τί ὄνομά σοι; καὶ ἀπεκρίθη λέγων· λεγεὼν ὄνομά μοι, ὅτι πολλοί ἐσμεν» Κατά Μάρκον 5.9 εν υπάρχει λογοτεχνία χωρίς τη ζήτηση του Υψηλού και χωρίς τον Δαίμονα της αναμέτρησης με τον Εαυτό που βασανίζει κάθε Iσχυρό δημιουργό. Η ιστορία της Χάρολντ Μπλουμ: ο κριτικός λεγεών

Not unlike the much more famous ‘Jewish heretic hermeneutics’ studied by Susan Handelman, such as those of Freud, Derrida, Bloom and others, painter and philosopher Norman Raeben has formulated his own new method for artistic creation embedded in rabbinic hermeneutics. We hereby present a comprehensive – although introductory – analysis of his creative as well as teaching methods. We also briefly focus on his influence on the poetics of his former student Bob Dylan, offering some preliminary clues for a better comprehension of the interrelations between the creative processes and theories of both authors.

Presentation delivered at "The 59th Annual Convention of the Midwest Modern Language Association", in Cincinnati, November 9-12, 2017, organized by Loyola University Chicago

A number of prominent critics have observed that Irish Studies is a practice configured by a sense of crisis. In Irish Classics Declan Kiberd notes that 'Irish Studies, for all its hopes of academic objectivity, remains a crisis-driven discipline', 2 and asserts that these crises are politically driven. Certainly, the political crisis that drove the Irish Studies movements of the 1970s and 1980s was at least partially 'the Troubles', and in 'Theorising Ireland' Claire Connolly attributes the phenomenon of 'crisis talk' in Irish criticism to the search for a solution to violence in the North of Ireland:

But the course ‘literary criticism’, the reason why I am writing this piece, was unsatisfactory and the contents only kept us ‘outmoded’. We had Eliot’s ‘Tradition and the Individual Talent’, Arnold’s ‘The Study of Poetry’, Wordsworth’s ‘Preface to Lyrical Ballads’, Johnson’s ‘Preface to Shakespeare’ and Aristotle’s Poetics. I have heard that Shelley’s ‘A Defense of Poetry’, excerpts from Coleridge’s Biographia Literaria, Dryden’s ‘An Essay of Dramatic Poesy’ and Sidney’s ‘An Apology for Poetry’ too were there in the syllabus, in the past years. But still, what is it really with our obsession for things no longer deemed ‘valid’? Training in classical thoughts is undoubtedly praiseworthy (and necessary too!), but if that happens without some knowledge of the contemporary, it will be difficult to stand on the same footing with the constantly improving world literatures and their critical literary manifestos.

In The Anxiety of Influence, Harold Bloom argues that poets are under the influence of their predecessors. In order to construct an authentic voice in poetry, the younger poet needs to undergo a process of “misunderstanding, misinterpreting, misalliance” that would require him to both acknowledge and, at the same time, diverge from the influential poet to situate his poems in the history of poetry. Although more famous for his novels, short stories and screenplays, F. Scott Fitzgerald also wrote poems and was vocal about the influence of especially Keats, as well as other English and American poets. His attempts at writing poetry date back to his Newman School and Princeton years; however, he has never been recognized as a prominent figure in poetry. Some critics even call him a “failed poet.” The reason for this failure seems to be that Fitzgerald’s anxiety was not of becoming a great poet influenced by traditional poets but to be just like them. The aim of this paper is to discuss how Keats and other figures in Fitzgerald’s life shaped his understanding of poetry and how his poetic composition influenced his novels.

L’assegnazione del premio Nobel per la letteratura a Bob Dylan ha aperto un grande dibattito. Partendo dall’analisi dei commenti, si è notato che tale dibattito non era sul Nobel, ma sul canone letterario. A tal proposito, è stato preso in esame il The Western Canon di Harold Bloom, notando che proprio laddove si sarebbe dovuto fissare il canone viene esaltata la matrice orale dell’intera letteratura occidentale. Partendo da ciò, si è analizzato sotto un profilo storico, filosofico e letterario la nascita dell’opposizione tra oralità e scrittura. Si è rilevato che tale dicotomia può essere l’esito di quella che si è sviluppata tra corpo e anima nella filosofia greca. Si è altresì analizzata la figura del poeta-sciamano e il suo sviluppo nel corso dei secoli, recuperando la “tradizione smarrita” e la “voce” che accumuna il poeta arcaico, il trovatore e i cantautori contemporanei, arrivando a Bob Dylan. Si è quindi analizzata l’opera dylaniana. Il suo rapporto con la tradizione è stato confrontato con quello teorizzato da T.S. Eliot. Sono state comparate la canzone “Desolation Row” di Dylan e la poesia “The Love Song of J. Alfred Prufrock” di Eliot. È stata esaminata la canzone “Hard Rain’s A-Gonna Fall” di Dylan per mostrare la sua capacità di accogliere e rielaborare fonti provenienti da tre grandi bacini: folk-tradizionale, mitico-religioso e letterario. Una attività di riscrittura e mescolamento che rivoluziona i parametri tra cultura alta e cultura bassa e dà vita alla prima poesia di massa della storia. Infine, si è discusso l’aspetto performativo di Dylan in relazione al “teatro epico” di Bertolt Brecht e al “teatro della crudeltà” di Antonin Artaud. In conclusione, si è affermato che la letteratura occidentale è nata attraverso la trascrizione e la codificazione della poesia orale. L’opera di Dylan, riprendendo la tradizione e adattandola al linguaggio della musica moderna, ha ampliato i confini espressivi della canzone e ha riunito musica e letteratura.

This paper reviews the existing literature and established protocols for the use of intended learning outcomes (ILOs) in UK higher education, stressing the need to incorporate a wider range of taxonomies than just the dominant notion of the cognitive.  The paper then goes on to explore an alternative visualization of four educational taxonomies as ‘taxonomy circles’, structured to support effective and imaginative ILO design before concluding with an illustration of how this model might be applied in practice.  It demonstrates how  a comprehensive and coherent approach to ILOs across all domains, with visualization to enable faculty to engage with potentially complex conceptual relationships, could support both effective design processes and enable future adaptive learning scenarios and student-centred learning planning tools.

Harold Bloom has promoted an idea of the Western Canon in literature and culture, which has an implicitly political value, aimed at demonstrating Anglophone supremacy, first British and then American. Bloom's Canon has a main prejudice at its base, considering as an absolute assumption the centrality of William Shakespeare as the only fundamental pillar of literature and culture in Western world. Despite the centrality of Shakespeare, the debate on a theatrical-literary canon is underestimated compared to the general debate on Canon. This is due to the implicit difficulty of theatre, at the same time literature and performing art, with the coexistence of literary-linguistic elements and others who look at the mise-en-scene. My contribution therefore focuses, from a theoretical point of view, on the elements to look at in defining a theatrical canon (literature and staging), dwelling on the Italian case. First of all, analysing the Italian case, I will consider Luigi Pirandello as the centre of an Italian Theatre Canon in the first half of the 20th century, despite authors, as Roberto Bracco, who at that time seemed to have more national and international resonance; then Eduardo De Filippo, noting that, in the second half of the last century, the core of the Italian Theatre Canon corresponded to the Regional Canon in the figure of Eduardo.

Harold Bloom, pur opponendosi ufficialmente alla politicizzazione della letteratura data da quelle che lui definisce "Scuole del risentimento", promuove una idea di canone letterario e culturale occidentale che ha implicitamente un valore politico, teso a dimostrare la supremazia anglofona, prima britannica e quindi americana. Si tratta di un Canon ruota intorno all'idea della centralità di William Shakespeare come perno della letteratura e della cultura. Pur partendo da Shakespeare, il dibattito su di un canone prettamente teatrale-letterario è sottostimato rispetto al dibattito del canone in genere. Ciò è dovuto alla difficoltà implicita della materia vista nello stesso tempo come letteratura e arte performativa, con quindi la coesistenza di elementi prettamente letterari-linguistici ed altri che guardano all'aspetto della messa in scena e della fortuna dei testi sotto questo punto di vista. Il contributo si sofferma quindi), soffermandosi sul caso italiano. Si prenderà in considerazione prima Luigi Pirandello come centro di un canone teatrale italiano nella prima metà del '900, anche a discapito di autori, come Roberto Bracco, che all'epoca sembravano avere maggiore risonanza nazionale e internazionale; quindi Eduardo De Filippo, notando come il centro del canone teatrale italiano va a corrispondere, nella figura di Eduardo, con quello del canone regionale. speaking countries? Per la definizione di un canone teatrale-letterario italiano contemporaneo (con particolare risalto a Luigi Pirandello ed Eduardo De Filippo) Provided by Diacronia.ro for IP 185.

El trabajo, tanto crítico como cinematográfico, de Víctor Erice es analizado bajo la perspectiva de su rigurosa continuidad, en la medida en que su obra está recorrida por un hilo conductor que pone de manifiesto la tensión entre lo individual y lo colectivo, entre la historia y el sueño. Desde sus primeros ensayos críticos hasta sus trabajos cinematográficos más recientes, pasando por sus largometrajes, la pasión cinefílica no impide el rigor con el que el artista intenta resolver la contradicción socialmente establecida entre memoria e historia.

Om faedre, sønner og litteraer indflydelse i Karl Ove Knausgårds Min kamp Det handler om faedre og sønner. Om faedrene i Karl Ove Knausgårds Min kamp. Om Karl Oves -romanens fortaeller og hovedperson -og hans forhold til sin far. Og om Knausgårdforfatteren -og hans forhold til sine litteraere faedre. Det er netop der vi starter, med Knausgård og hans forhold til de litteraere faedre, inden vi dernaest skal kigge naermere på Karl Oves forhold til sin biologiske far. I slutningen af bind to lader Karl Ove sig interviewe af en journalist, der er rejst til Stockholm for at tegne et portraet af ham. Karl Ove er som så ofte utilfreds med det han får sagt og hele situationen får ham til at forbande kulturens verden langt vaek:

Recent work in psychology has postulated a role for imitation in such diverse aspects of cognition and human development as self-recognition, acquisition of linguistic and moral systems, and even eory of Mind-or how we learn that other people have minds that work similarly to our own. Current theories of cultural evolution in anthropology are based largely upon imitation. While there are still active arguments on the exact role of imitation and the extent of its in uence on human development-much of them depending on how broadly the term is de ned-it is becoming increasingly clear that imitation is a fundamental aspect of the human mind and therefore in uences the products of that mind, including literature (in the broad sense of any linguistic, structured artifact) and the other arts.

En la «Crítica del juicio», Kant introduce la figura del genio como aquel que tiene talento para "dar regla al arte" y le atribuye un a serie de condiciones, entre ellas, ser "original" y "ejemplar". Sin embargo, la originalidad de un genio presenta dificultades cuando entra en relación con la ejemplaridad de otros genios dentro de la tradición artística, influencia mediante. Este trabajo indaga sobre tal dificultad kantiana a la luz de los desarrollos críticos de Harold Bloom.

A personalíssima trajetória de um crítico literário norte-americano que andou na contramão das principais tendências teóricas e ideológicas do seu tempo.

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Exemplar incomum de intelectual com formação humanístico-literária rigorosamente acadêmica, mas que conquistou um número expressivo de leitores – e vários se tornaram fiéis seguidores – fora do âmbito universitário, Harold Bloom (1930-2019) é considerado por muitos um dos mais talentosos críticos literários do nosso tempo – além de, sem dúvida, um dos mais influentes. Paradoxalmente, o autor de obras famosas como A angústia da influência e O cânone ocidental não esteve alinhado ao, digamos, “pensamento hegemônico” da crítica e da teoria literária produzida nas principais universidades do seu país, os Estados Unidos. Pelo contrário: Bloom foi um dos mais ferozes críticos da atual situação das chamadas humanidades em seu país. Para ele, a proeminência do Pós-Estruturalismo – fundamentalmente em sua vertente desconstrucionista –, no âmbito da teoria, por um lado, e do discurso engajado e politicamente correto dos Cultural Studies, por outro, representava uma espécie de nova “traição dos intelectuais”, para usar a expressão consagrada pela obra homônima de Julien Benda.

In year 1984 Adam Kulawik, one of the most eminent researchers amongst the Polish theoreticians of versification have published a revolutionary article “The principle of verse organisation”, in which showed a completely new approach to understanding of the verse system, metrics and so one. This article have created in fact a new paradigm of verse-thinking elaborate in the further books by Kulawik (ex. Verse Theory 1995, Versification 1999). The modest goal of my article is to show the influence and after-effects of Kulawik's works on contemporaty polish verse theory.