Sallies of the MindRoutledge, 17 apr. 2018 - 253 pagini Francis Fergusson was one of the foremost American literary critics and scholars of the twentieth century. A man of the theater as well as a man of letters, Fergusson's versatility and mastery traversed a wide range of intellectual disciplines. As George Core notes: "one of the most remarkable aspects of Fergusson's criticism is that it stands comfortably, at ease, with the best work stemming from diverse schools of criticism that are sometimes in conflict—the New Critics, the New York intellectuals, the myth critics and various distinguished critics of the modern theater." Though allied with the New Critics, Fergusson was intellectually capacious enough to be associated with many critical schools of vastly different persuasions. R.W.B. Lewis once remarked of this respected original that "his critical theories and practices possess a severely beautiful purity." Sallies of the Mind is a collection of Fergusson's essays drawn from a variety of virtually unattainable works. It incorporates Fergusson's representative criticism on such major authors as Dante, Shakespeare, James, and Eliot; on myths as well as action; on the modern stage; and on the modern novel. Essays in this collection include: "T.S. Eliot and His Impersonal Theory of Art" "Humanism" "Maritain's Creative Intuition" "Two Perspectives on European Literature" "Two Acts from Dante's Drama of the Mind" "The Divine Comedy as a Bridge across Time" "Hamlet" "Measure for Measure" "Eugene O'Neill" "Exiles and Ibsen's Work" "Oedipus According to Freud, Sophocles, and Freud" "The Theater of Paul Valery" "D.H. Lawrence's Sensibility" and "The Drama in The Golden Bowl." Francis Fergusson's criticism endures not only owing to its originality, depth, and range but also to its classically austere clarity of style. Looking at the present-day critical scene, we see few who match Fergusson's intelligence, learning, and verve. Sallies of the Mind is a tribute to his legacy as well as to the themes he treats. |
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... Ethical Culture School in Manhattan (now called Fieldston). There he formed lifelong friendships with the writer Jeannette Mirsky and with Robert Oppenheimer, his exact contemporary, born in 1904. Francis flourished under the tutelage ...
... ethical impulse, while Joyce “substitutes for action a motionless picture, and for a thesis a metaphysical vision of a kind of godless monadology or Pluralistic Universe, of a consistency and strictness which William James the liberal ...
... ethical, not an artistic one. I believe Mr. Eliot would agree that the significance of art cannot be read apart from the society in which it grew, and that unless tradition of any kind is felt first of all as an answer to a common ...
... ethical values in criticizing poetry. Like Mr. Irving Babbitt and M. Ramon Fernandez, and, indeed, the whole group that shares Mr. Eliot's esthetics, he sees in romanticism an ethical rather than an esthetic aberration. He says ...
... ethical standards. Now these standards involve two related conceptions: the conception of a human value, of the normal, adult, sane, fully developed human being—a conception which he adapts from Freud (cf. his “Note sur Freud”)—and the ...
Cuprins
Two Perspectives on European Literature 1954 | |
Two Acts from Dantes Drama of the Mind 1951 | |
V | |
The Divine Comedy as a Bridge across Time 1965 | |
The Analogy of Action 1940 | |
Purgatorio 16 and Measure for Measure 1951 | |
T S Eliots Poetry and Drama 1952 | |
On the Edge of Broadway 1954 | |
The Theater of Paul Valéry 1960 | |
Oedipus According to Freud Sophocles and Cocteau 1975 | |
H Lawrences Sensibility 1933 | |
The Drama in The Golden Bowl 1934 | |
Three Novels 1954 | |
Myth and the Literary Scruple 1956 | |
Poetry as Evidence of Things Not Seen 1973 | |
Eugene ONeill 1930 | |
Exiles and Ibsens Work 1932 | |
The Notion of Action 1964 | |
Index | |