By Philip Davis (eds.)
ISBN-10: 0312164750
ISBN-13: 9780312164751
ISBN-10: 0333670035
ISBN-13: 9780333670033
ISBN-10: 1349255084
ISBN-13: 9781349255085
Poets, novelists and critics devoted to artistic pondering subscribe to jointly during this number of essays to assert what severe studying relatively skill to them as contributors. the gathering is split into 4 sections: George Steiner and George Craig at the act of interpreting regularly; Joseph Brodsky, Les Murray, Douglas Oliver and Hester Jones on analyzing, poetry and imaginative and prescient; John Bayley, Philip Davis and Gabriel Josipovici on analyzing and instructing within the universities; Raymond Tallis, Michael Irwin, Josie Billington and Doris Lessing on examining and the novel.
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Additional resources for Real Voices: On Reading
Sample text
That there is, finally, 'nothing to get right', that 'anything goes' - the current slogan in postmodernism, particularly in the American setting - is the exact anti thesis to this credo. It can inspire a critic, not areader. Ideally, to be sure, these two attitudes should draw dose. A serious critic ought to be a 'slow reader' in the sense I have tried to set out. For his part, the good reader should achieve a darity of interpretation which renders criticism both possible and natural. Examples such as those of Coleridge, of Proust, of Peguy, a book such as Empson's Structure of Complex Words or Contini on Gadda and Montale, demonstrate the ideal.
Textual criticism is sharply 'critical', but in a sense almost antithetical to that of the critic's criticism. Textual criticism is the broom in the house of remembrance, sweeping away accretion of factitiousness in order to make presentness more translucid. It does not judge its text, as the critic must; it labours to restore it to exact mystery. That there are profound mirrorings as between philology and music, that both are disciplines of access to elemental energies of being projected towards and concealed from the intellect, was a fact familiar to Plato and recalled by Nietzsche.
It is philology, the literal 'love of the logos' which has been the natural instrument, the magnifying glass of the exegete. Likewise, musicology can dweIl on each note or bar. Textual criticism is sharply 'critical', but in a sense almost antithetical to that of the critic's criticism. Textual criticism is the broom in the house of remembrance, sweeping away accretion of factitiousness in order to make presentness more translucid. It does not judge its text, as the critic must; it labours to restore it to exact mystery.
Real Voices: On Reading by Philip Davis (eds.)
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