Critical Theory And The Literary Canon
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A01=E. Dean Kolbas
academic canon politics
Act III
adorno's
Adorno's Aesthetic Theory
aesthetic
Aesthetic Autonomy
Aesthetic Content
aesthetic evaluation methods
artistic
Artistic Reproduction
Author_E. Dean Kolbas
Canon Debate
Canon Revision
canonical
Canonical Art
Canonical Change
Canonical Works
Category=AB
Contemporary Society
content
Critical Aesthetic Theories
Cultural Reproduction
cultural studies theory
debate
Edgar Rice Burroughs's Tarzan
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
formation
Heine's Poetry
ideology critique literature
Jewish German Writer
Literary Canon
Literary Canon Formation
Milorad Pavic
Monopoly Academia
new historicism analysis
objective aesthetic content assessment
Professional Managerial Class
sociology of literature
Timeless
truth
Truth Content
western
Western Canon
Western Literary Canon
works
Product details
- ISBN 9780367098872
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 13 Jun 2019
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Kolbas stakes out new territory in assessing the war over literary canon formation, a subject that contemporary polemicists have devoted much ink to. Throughout this succinct manuscript, Kolbas ranges through the sociology and politics of culture, aesthetic theory, and literary theory to develop his point that texts not only must should be situated in the historical and material conditions of their production, but also evaluated for their very real aesthetic content. One reason the is an important issue, Kolbas contends, is that the canon is not simply enclosed in the ivory tower of academia; its effects are apparent in a much wider field of cultural production and use. He begins by critiquing the conservative humanist and liberal pluralist positions on the canon, which either assiduously avoid any sociological explanation of the canon or treat texts as stand-ins for particular ideologies. Kolbas is sympathetic to the arguments of Bourdieu et. al. regarding positioning the canon in a wider "field of cultural production" than the university, but argues that theirs are purely sociological explanations of aesthetics (i.e., there is no objective aesthetic content) that ignore art's autonomous realm, which he argues -- a la Adorno -- exists (if only problematically). Ultimately, he argues that critical theory, particularly the arguments of Adorno on aesthetics, offers the most fruitful path for evaluating the canon, despite the approach's clear flaws. His vision is a sociological one, but one that treats the components of the canon as possessing objective aesthetic content, albeit content that shifts in meaning over history.
E Dean Kolbas
