When Henry Hazlitt published this exceedingly rare book, he was finishing up a three-year position at The Nation as literary critic, and preparing to accept the position as H.L. Mencken's successor at American Mercury. He was struggling with integrating his two main interests: literary criticism and economics. In economics, value is subjective, whereas the key goal in literary criticism is the discovery of something approximating objective value. The text of this book reflects that struggle in the form of a trialogue. Hazlitt has his characters debate the question of literary value, and pushes forward the proposition that the value of literature is discerned and revealed through the operation of the "social mind." So he ends up rejecting relativism while avoiding mistakes in economic theory. A fascinating study, brilliantly conceived and rendered by a master. As an extra bonus here, Hazlitt offers a postscript on the rise of Marxism in literary criticism. He shows how preposterous it is for Marxism to reject the main corpus of Western litertaure as hopelessly bourgeois, even while Marx himself read all the great works in his leisure. This is a highly significant essay becuase it was probably the first attack on Marxist literary deconstructionism ever written!

A collection of "the most important" of Henry James' Prefaces; "his studies of Hawthorne, George Eliot, Balzac, Zola, de Maupassant, Turgenev, Sainte-Beuve, and Arnold; and his essays on the function of criticism and the future of the novel."--P. [4] of cover.

This volume, the twenty-second in the acclaimed Collected Works of Northrop Frye series, presents Frye's most influential work, Anatomy of Criticism (1957). In four stylish and sweeping essays, Frye attempts to formulate an overall view of the scope, principles, and techniques of literary criticism and the conventions of literature - its modes, symbols, archetypes, and genres. He makes the case for criticism as a legitimate and structured science, a science that he would go on to wield with great influence over the course of his distinguished career. Robert D. Denham's introduction to this edition examines the book's genesis, its initial reception, and its relation to Frye's other works, particularly Fearful Symmetry (Volume 14 in the series). He highlights the diagrammatic way of thinking that characterizes Frye's brand of structuralism and explores the meaning of the word 'anatomy.' Denham also provides context for the work, considering the critical tradition out of which it emerged, as well as how it relates to some of the movements that appeared after the waning of structuralism. A key volume in the Collected Works series, this annotated and expertly introduced edition of Anatomy of Criticism will be sure to satisfy Frye's many admirers.

Literary Theory and Criticism: An Introduction provides an accessible overview of major figures and movements in literary theory and criticism from antiquity to the twenty-first century. It is designed for students at the undergraduate level or for others needing a broad synthesis of the long history of literary theory. An introductory chapter provides an overview of some of the major issues within literary theory and criticism; further chapters survey theory and criticism in antiquity, the Middle Ages and Renaissance, the Enlightenment, and the nineteenth century. For twentieth- and twenty-first-century theory, the discussion is subdivided into separate chapters on formalist, historicist, political, and psychoanalytic approaches. The final chapter applies a variety of theoretical concepts and approaches to two famous works of literature: William Shakespeare’s Hamlet and Mary Shelley’s Frankenstein.