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McCarthy's The Road.(Critical essay).

As a result of Hayek’s influence Popper emphasised that state intervention should take the form of laying down clearly formulated rules, and state officials should not be empowered to issue discretionary orders to achieve particular short-term aims. He became more alert to the dangers of increasing state power, he insisted that social democratic policies should never be envisaged as a “cure-all” and he warned that socialists of good will should be alert to abuses of power that could result from increased state activity, however well meaning the original intention might be. In March 1944 he wrote to Hayek “I think I have learnt more from you than from any other living thinker, except perhaps Alfred Tarski”.

Jack Kerouac's On the Road Apart from the male-centeredness of On the Road, critical disapproval ..

These papers were written primarily by students and provide critical analysis of The Road by Cormac On the Road Essay Questions | GradeSaver On the Road study guide contains a biography of Jack Kerouac, literature essays, by students and provide critical analysis of On the Road by Jack Kerouac.

The Road Bloom`s Modern Critical views: Cormac McCarthy,.

Critical Essays on Jack Kerouac's On the Road [Hilary Holladay and Robert Holton].

Richards (The Principles of Literary Criticism, Practical Criticism and How to Read a Page) or Louise Rosenblatt (Literature as Exploration or The Reader, the Text, the Poem).

He made much of the idea of problem solving in the craft of the poet, grappling with the linked problems of organizing intellectual, emotional and technical aspects of the work into a coherent form. The work that the poet has to put into solving these problems should make him a more effective thinker and actor in the world; similarly the effort required to understand what the poet has done should help the attentive reader in much the same way. This is why he speaks of the best poetry as “a moral success in the face of certain experiences” and he contends that the degree of greatness in the work depends on the difficulty of the experience that had to be faced, assuming that technical perfection was achieved at the same time. He suggests that the great tragic poets such as Shakespeare, Hardy and Racine convey the impression of a victory over life itself ”so much is implicated in the themes”.

After the New Criticism. See chapter 6.

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We can be grateful for the contribution of Jarvie and Tullock for their wide-ranging contributions to their respective fields and for the two books cited for special mention here. It seems that Jarvie’s book did not arouse the interest which I think is warranted by the implications and applications of the social/institutional approach to research and the institutions where it is done. Let us ensure that there is a more expansive and inclusive conversation on the themes and issues which Jarvie and Tullock addressed, especially in relation to the governance of science. The parties to this conversation could include other followers of Popper such as Wettersten, Agassi and Shearmur who have addressed the social aspects of science, Steve Fuller, and the exponents of the strong program in the sociology of science. This could generate more heat than light but it will be an opportunity lost if it does not occur.

Closely related to the motives of the investigators is their concern for the quality of the work and their willingness to test their assumptions and their results. Tullock noted that the dedicated truth seeker and also the serious practical problem-solver must pay close attention to reality to align their ideas with it and this demands constant testing and critical evaluation. In contrast, the researcher who is only aiming to publish to satisfy the requirements of an employer or grant-giving agency can be happy with results that are merely publishable even if they are not robust. As Tullock put it, scientific concern with the real world can run second to other matters.

The New Criticism. New York: New Directions, 1941.
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the Critical-Skeptical-Agnostic Perspective, January 2015

The Australian poet, academic and critic A D Hope published “Literature versus the Universities” after a 1958 tour of Canada, Great Britain and the United States. He reported that the standards of scholarship and criticism were high but “I found myself getting more and more uneasy, until uneasiness in the end grew into a kind of nightmare”. Hope’s story began in the 19th century when the study of English literature began to displace the classics from the centre of university studies in the humanities. At the beginning of the 20th century English studies beyond the first degree were pursued by poorly paid and dedicated scholars who mostly carried on their studies for their own sake.

The Post-Colonial Critic: Interviews, Strategies, Dialogues.

“Universities now have a high prestige and offer high rates of pay and good chances for advancement. English, from a new and not very utilitarian subject has become a high-pressure industry.” That means the doctorate is absolutely required for appointment and Hope had some difficulty in explaining how in Australia he could be a professor and head of department without being Dr Hope. Hence the pressure to publish or perish among graduate students and teachers as well. In the space of a generation research and scholarship shifted from a focus on the books to provide more knowledge, to provide good texts, to establish the canon of a writer’s works, and to clear up misunderstandings by historical criticism. “Now the purpose of nine-tenths of the research and criticism that goes on is to help the researcher to qualify in the great rat-race”.

After the New Criticism. See chapter 3.

As noted, Winters combined the careers of poet, critic, teacher and scholar despite resistance which he blamed on the ‘romantic’ view of creation. Under the influence of this doctrine, the critic came to be regarded as an inferior being, rather like a teacher who really should be doing something else if only he had the ability to do so. With this low regard for critics and commentators went the idea that the poet is set apart from the common herd, divorced from the mundane problems of the world and devoted to a special kind of communication that is only accessible to equally enlightened folk. Winters would have none of that. For him, creative literature and poetry are extensions of ordinary language, perhaps distinguished by a high level of skill and precision in achieving certain effects, but not set apart on the other side of a great divide. He also detested pure theory, divorced from the practical task of crafting words into poetry.

On Deconstruction: Theory and Criticism after Structuralism.

At the risk of arousing mirth in progressive circles, Winters declared himself an absolutist, that is, a person who believes in the existence of absolute truths and values. He did not suggest that he personally had access to these things, or that his own judgments were necessarily correct. However it is the duty of every man and of every society to try as far as may be to approximate to them. He suggested that our system of justice, our universities, and the practice of literary criticism itself presupposes the existence of various absolutes, despite all the arguments that are raised against this notion.

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