Download A Touch More Rare: Harry Berger, Jr., and the Arts of by Nina Levine, David Lee Miller PDF

By Nina Levine, David Lee Miller

Harry Berger, Jr., has lengthy been one among our so much respected and revered literary and cultural critics. because the overdue nineties, a move of exceptional and leading edge courses have proven how very extensive his pursuits are, relocating from Shakespeare to baroque portray, to Plato, to theories of early culture.In this quantity a unusual team of students gathers to have fun the paintings of Harry Berger, Jr. To celebrate,in Berger's phrases, is to go to anything both in nice numbers otherwise frequently-to depart and are available again, depart and are available again, leave and are available again. Celebrating is what you do the second one or 3rd time round, yet now not the 1st. To have fun is to revisit. To revisit is to revise. social gathering is the eureka of revision.Not in simple terms former scholars yet distinctive colleagues and students come jointly in those pages to find Berger's eurekas-to revisit the rigor and originality of his feedback, and sometimes to revise its conclusions, throughout the enjoyment of strenuous engagement. Nineteen essays on Berger's Shakespeare, his Spenser, his Plato, and his Rembrandt, on his theories of interpretation and cultural swap and at the ethos of his serious and pedagogical types, open new techniques to the magnificent ongoing physique of labor authored via Berger. An advent by way of the editors and an afterword through Berger himself position this competition of interpretation within the context of Berger's highbrow improvement and the reception of his paintings from the mid-twentieth century into the 1st decade of the twenty-first.

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Extra info for A Touch More Rare: Harry Berger, Jr., and the Arts of Interpretation

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But it didn’t work for me, as witnessed by the fact that after a couple of years I had produced only that one article. Now we get to Harry. In a series of essays, such as ‘‘Text and Performance in Shakespeare: The Example of Macbeth’’ and ‘‘A Textual Dramaturgy: Representing the Limits of Theater in Richard II,’’ first published during the eighties, Harry managed to cut through the whole Gordian knot that had paralyzed my thinking (though I paid no attention, having gone on to other problems that I thought I could solve).

Berger’s work involves a concerted and rigorous laying bare of the self and its subterfuges, its myriad disguises, theatricalizations, displacements, duplicities, captivities, and abjections, its impositions on itself and others, its ways of justifying itself to itself and others. The criticism offers us a refined radar for bad faith, for the relentless the tricks of human conscience, the will to accuse and to justify, the appetite to praise and blame—matters of which Renaissance literature offers particularly complex instances.

In another passage quoted by Berger, Wimsatt and Brooks themselves admit that the paradoxes on which they see great literature as constructed depend on the presence of what they call ‘‘evil’’: ‘‘The great works and the fine works of literature seem to need evil—just as much as the cheap ones, the adventure or detective stories. Evil or the tension of strife with evil is welcomed and absorbed into the structure of the story, the rhythm of the song. ’’8 What Wimsatt and Brooks mean here is to suggest that by recognizing the role of ‘‘evil’’ in constructing the structural and intellectual paradoxes of great poetry, the critic is not endorsing evil but rather understanding the need for literature to confront it and hence, by definition, to include it.

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