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Topic: Cleanth Brooks


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In the News (Sat 25 May 19)

  
  slow reads
Cleanth Brooks and the Rise of Modern Criticism by Winchell is three books in one, combining a history of twentieth century criticism, a biography of Brooks, and a summary of most of the many books Brooks published, often with chapter-by-chapter detail.
Brooks was a convert to the Episcopal Church and was active in his church community.
Brooks had numerous connections with poets other writers of the twentieth century, particularly the Fugitive poets, and part of the fun of the biography derives from the insights Brooks and his wife Tinkum gather about these well-known figures.
www.slowreads.com /ReviewWinchellCleanthBrooks.htm   (2280 words)

  
  Cleanth Brooks - Wikipedia, the free encyclopedia
On October 16, 1906 in Murray, Kentucky, Brooks was born to a Methodist minister, the Reverend Cleanth Brooks Sr., and Bessie Lee Witherspoon Brooks (Leitch 2001).
Brooks formulated these guidelines in reaction to ornamentalist theories of poetry, to the common practice of critics going outside the poem (to historical or biographical contexts), and his and Warren’s frustration with trying to teach college students to analyze poetry and literature (Leitch 2001).
Brooks argues "through irony, paradox, ambiguity and other rhetorical and poetic devices of his or her art, the poet works constantly to resist any reduction of the poem to a paraphrasable core, favoring the presentation of conflicting facets of theme and patterns of resolved stresses" (Leitch 2001).
en.wikipedia.org /wiki/Cleanth_Brooks   (2242 words)

  
 TN Encyclopedia: CLEANTH BROOKS
One of the foremost literary critics of the twentieth century, Cleanth Brooks achieved the breadth of his influence through his collaboration with Robert Penn Warren on the collegiate texts that revolutionized the reading of literature in mid-century America.
Brooks and Warren exerted a significant influence on American literature both together and separately, and the parallels of their lives are striking.
Brooks was born in Murray, Kentucky, and grew up in the Kentucky and Tennessee towns where his father, a Methodist minister, served.
tennesseeencyclopedia.net /imagegallery.php?EntryID=B091   (462 words)

  
 WashingtonPost.com: Cleanth Brooks and the Rise of Modern Criticism
Brooks was a native of Madison County, Tennessee.
Cleanth was not at all surprised that "Rugby Chapel," Matthew Arnold's tribute to his father, Thomas, was the headmaster's favorite poem, because Mr.
Cleanth recalls that the rest of the team would be out on the field, passing and punting, waiting for their coach and remaining teammates to show up.
www.washingtonpost.com /wp-srv/style/longterm/books/chap1/cleanth.htm   (5983 words)

  
 20th WCP: Ironies and Paradoxes
Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory.
Brooks was not, of course, the first to say this kind of thing, nor was the New Criticism the first to draw attention to irony and paradox as sources of literary value.
For Brooks, as I have said, "paradox" was the name of a quality very like the defamiliarisation or deautomatisation which we associate with the Russian Formalists and the Linguistic Circle of Prague.
www.bu.edu /wcp/Papers/Lite/LiteBred.htm   (2712 words)

  
 [No title]
But Brooks is not necessarily strict in sticking to traditional interpretation, so it is intriguing he would begin with what we might call at this point an interpretational warning label to insure that the reader does not misinterpret him and think that he is trying to merely find a new interpretation for an old poem.
To this, Brooks is "in hearty agreement" ("Limits" 354), and with this ending it is clear that there are implications to this argument, that it is not a matter of certain individuals and their individual interpretations.
Or is Brook's New Critical approach, the trouble he makes, an attempt to reach a merely different objective truth, which arises out of his desire to rescue Marvell's poem from being a "heap of fragments" ("Ode" 325), and his overall "concern for the universal in the poem" ("Limits" 353).
www.english.ilstu.edu /strickland/215/sample/mcgee.html   (1102 words)

  
 Cleanth Brooks Criticism
Cleanth Brooks is usually identified with one method, "close reading," and with a search for such devices as paradox and irony in English poetry from Shakespeare to Yeats.
What Brooks does is to summarize the theme, to call attention to important contrasts, to paraphrase difficult passages, to indicate shifts in tone, to trace recurrent symbols and to interpret their meanings in different contexts, and to trac...
Brooks' initial premise is that Hemingway, Faulkner, Yeats, Eliot, and R. Warren are concerned with the position of man in a hostile or an indifferent universe.
www.bookrags.com /criticisms/Cleanth_Brooks   (1862 words)

  
 Books in Review: Cleanth Brooks and the Rise of Modern Criticism
Although Brooks was a man of substantial affluence by the time of his death, largely as a result of the commercial success of the textbooks he helped to edit, he certainly did not start out that way.
Brooks' achievement was to apply the method of close reading, with its emphasis on poetic tension, or paradox, or irony, to virtually the entire English and American literary tradition, including prose fiction and drama as well as nondramatic verse.
Brooks was himself a practicing Christian (as an adult he moved from his boyhood Methodism to the Episcopal Church), but there is little overt treatment of religion in his literary criticism.
www.leaderu.com /ftissues/ft9704/reviews/young.html   (1179 words)

  
 Brooks on Keats
As you follow Brooks' reasoning, try to identify the central literary device that he thinks organizes the poem; also ask yourself what questions, or types of questions, he does NOT pose about this text.
Brooks claims that these objections are beside the point.} The question of real importance concerns beauty and truth in a much more general way: what is the relation of the beauty (the goodness, the perfection) of a poem to the truth or falsity of what it seems to assert?
The "Ode," by its bold equation of beauty and truth, raises this question in its sharpest form - the more so when it becomes apparent that the poem itself is obviously intended to be a parable on the nature of poetry, and of art in general.
social.chass.ncsu.edu /wyrick/debclass/Brooks.htm   (2650 words)

  
 Course Book Chapter: New Criticism   (Site not responding. Last check: 2007-10-31)
Brooks also believed that critics should be self-consistent in their criticism and that New Criticism should make universal judgements as poetry does.
Brooks believed that poetry should be a statement of ‘Carpe Diem’ or seize the day and that poetry should not mean but be, if the poem had an outside meaning than the reader was distracted from the actual poem.
Brooks believed that metaphorical language should not and could not be used as decoration or ornamental but it was the poem, to remove it (the metaphorical language) would be to destroy the poem; as a result a poem cannot be reduced to paraphrasing.
flash.lakeheadu.ca /~engl4904/newcriticism.htm   (1788 words)

  
 Cleanth Brooks - Search Results - MSN Encarta   (Site not responding. Last check: 2007-10-31)
Cleanth Brooks - Search Results - MSN Encarta
Brooks’s close textual analysis of poetry was a major force in the 1930s and 1940s literary...
Brooks, Gwendolyn Elizabeth (1917-2000), American poet, the first African American to receive a Pulitzer Prize.
encarta.msn.com /Cleanth_Brooks.html   (107 words)

  
 Jessica Edwards   (Site not responding. Last check: 2007-10-31)
Brooks terms the relationship between the component parts of a poem the pressures of context: just as the cells of a plant rely on adjoining cells for water, nutrients and energy, so in poems, words rely on surrounding words for their meaning.
Brooks compares poetry to drama in order to describe how pressures of context produce irony: "what is said is said in a particular situation and by a particular dramatic character"(758).
Brooks claims that metaphors, even as they risk obscuring larger themes, are absolutely necessary because "direct statement lends to abstraction and threatens to take us out of poetry altogether"(758).
www.erin.utoronto.ca /~dwhite/490/edwards1.htm   (1334 words)

  
 [No title]
The oppositional statements of Morize and Brooks neatly encapsulate the "debate" which occurred within the academy through much of the first half of this century between the philologists and literary historians and the emerging theorists, with New Critic Brooks's statement illustrative of the eventual triumph of New Criticism within the academy.
Brooks then rather heavy-handedly delineates the common pedagogical errors typically encountered within literary historians' college literary classrooms which precluded students from learning how to properly read the poem as a poem: paraphrasing logical and narrative content, studying biographical and historical materials, and finally, offering inspirational or didactic interpretations (44).
Brooks first addresses Bush's accusation that his reading of the Ode was indicative of his ideological biases which in turn, apparently led him to "wrench" unsubstantiated meanings from the text of poem.
www.english.ilstu.edu /strickland/215/sample/maureen2.html   (1391 words)

  
 type_Document_Title_here
A generation ago Cleanth Brooks's interpretation of john Donne's poem "The Canonization" might have been considered a reading that had produced "extraordinary results." Given recent developments in critical theory and practice, however, it seems unlikely that many people would now include it in an expanded version of Robert Darnton's list of historically decisive readings.
Although the Donne revival long antedated Cleanth Brooks, it is well understood that the New Criticism of which he was a leading exponent took an especially active interest in Donne, so that, as Culler's argument acknowledged, the fortunes of Donne and of the New Criticism were for a time closely wedded.
Brooks himself explicitly acknowledged his interest in the "disruptive" qualities of a poem, the way the poet works "by contradiction and qualification."(29) He was relatively optimistic about how readily what he benignly designated as "paradoxes" might be harmonized and about how easily a reader might merge with the author.(30)
www.geocities.com /milleldred/donnehaskin.html   (4838 words)

  
 Dismantling the Box
Brooks then goes through a lengthy analysis of John Donne's "The Canonization" to prove his point: there is an underlying paradox, he says, in the poem that is even echoed in the title--the treatment of profane love as if it were divine.
Brooks does not define what these "insights" are, but given the examples of love and religion, we can easily add some more to the list: insights about life, death, war, futility, nostalgia, fate, and so on--the usual great problems facing mankind.
If you were Cleanth Brooks, you would take it as proof of the existence of a general Human Nature, since what you have found in the text mirrors your own half-formulated thoughts; furthermore, you would take it as a sufficient excuse to uphold the canon.
home1.stofanet.dk /rgissel/essays/brksman.htm   (6264 words)

  
 ipedia.com: Cleanth Brooks Article   (Site not responding. Last check: 2007-10-31)
Cleanth Brooks (1906-1994) was an influential American literary critic.
Brooks studied at Vanderbilt University, where he met Robert Penn Warren, and then at Tulane University, after which he was a Rhodes Scholar at Oxford University.
Although he was not technically a member of either group, he was well acquainted with the members of both the Fugitives and the Agrarians, two literary groups associated with Vanderbilt in the 1920's and 1930's.
www.ipedia.com /cleanth_brooks.html   (262 words)

  
 GLIMPSES OF BROOKS' LIFE ARE STILL REVEALING   (Site not responding. Last check: 2007-10-31)
Literary scholar Cleanth Brooks once told his biographer that during his adolescence, any American boy with a name like Cleanth who wore thick glasses had better be good at football or be prepared to be teased by the other boys.
Brooks might also have advised his listener that any critical biography with the words ``the Rise of Modern Criticism'' as part of its title had better be comprehensible if it is to escape being deadly dull.
Happily for Brooks, he was skillful at football as a young man. And happily for Mark Royden Winchell, his life of Brooks is interesting, accurate and informative, though not without its faults.
scholar.lib.vt.edu /VA-news/VA-Pilot/issues/1996/vp960915/09170508.htm   (588 words)

  
 William Kurtz Wimsatt, Jr. - Wikipedia, the free encyclopedia
Through studies of works by T. Eliot as well as discussions of topics such as “The Augustan Mode in English Poetry” and “The Criticism of Comedy,” (xi) Wimsatt attempts to add to the efforts to justify and improve literary criticism (xix).
Written with Cleanth Brooks in 1957, Literary Criticism: A Brief History is intended as “a history of ideas about verbal art and about its elucidation and criticism” (Wimsatt and Brooks ix).
The authors attempt to contribute to the “intelligibility in the history of literary argument” as well as “contributes to a distinct point of view,” which, they argue, is a necessary part of any historical literary studies (vii).
en.wikipedia.org /wiki/W.K._Wimsatt   (1469 words)

  
 Cleanth Brooks
Cleanth Brooks (1906-1994) was for years a name to conjure with.
Brooks is insistently described as gentlemanly, but often he seems frankly timorous, naive, condescending, and wishy-washy.
At the end of his life, Cleanth Brooks attended a conference at which two economists presented a paper wherein they tried to "determine the verisimilitude of Faulkner's world by comparing the average height of his characters with the available historical records.
www.angelfire.com /zine2/jungchiu/BrooksC.html   (799 words)

  
 [No title]   (Site not responding. Last check: 2007-10-31)
Pleasants: Cleanth Brooks, obviously, is one of the foremost critics in modern academics.
What Brooks insisted was that you look at the poem and forget the author, his personal political views or his private sex life, but let's talk about the artifact here.
Cleanth Brooks and his wife, Tinkum, bought a seventeenth century New England Salt Box house, and had it moved piece by piece to a beautiful piece of property, where they reassembled it on the top of a hill, with a little stream running down below.
www.lib.lsu.edu /special/williams/newsletters/ohnewsletter11.html   (1894 words)

  
 Cleanth Brooks and Allen Tate Collected Letters, 1933-1976 Alphonse Vinh
Offering all of the extant letters exchanged by two of the twentieth century's most distinguished literary figures, Cleanth Brooks and Allen Tate: Collected Letters, 1933-1976 vividly depicts the remarkable relationship, both professional and personal, between Brooks and Tate over the course of their lifelong friendship.
Brooks once said that Tate treated him like a younger brother, and despite great differences between their personalities and characters, these two figures each felt deep brotherly affection for the other.
Invaluable to both students and teachers of literature, Cleanth Brooks and Allen Tate provides a substantial contribution to the study of twentieth-century American, and particularly southern, literary history.
www.umsystem.edu /upress/fall1998/vinh.htm   (344 words)

  
 [No title]   (Site not responding. Last check: 2007-10-31)
Cleanth Brooks was at first a somewhat reluctant subject for Mark Winchell's Cleanth Brooks and the Rise of Modern Criticism, modestly maintaining that his life was not interesting enough to be the focus of such a comprehensive book.
Though he was well into his eighties at the time, Brooks' amazing stamina often left Winchell feeling worn out at the end of a visit.
Brooks' long life involved him in most of the major issues confronting the humanities from the 1930s until his death in 1994.
www.clemson.edu /caah/cedp/Mirare/spring97/cleanth.html   (219 words)

  
 Cleanth Brooks --  Encyclopædia Britannica
She was Gwendolyn Brooks, poet laureate of Illinois and the first African American winner of a Pulitzer prize for poetry.
Brook became involved in theater at a young age and had directed several shows before he graduated from Oxford University at age 19.
The Brooks Range, named for geologist Alfred Hulse Brooks, forms the drainage divide between the waters that flow northward into the Arctic Ocean and those that flow southward into the Yukon River.
www.britannica.com /eb/article-9016642   (659 words)

  
 Harvard Gazette: Lawrence Buell's 'Emerson' wins award
Brooks felt distinctly ambivalent would be honored in their name, especially considering that only one of its seven chapters is
The Warren-Brooks Award was established in 1995 and is made possible by an endowment from the late Eleanor Clark Warren, the Warren Estate, and Western Kentucky University.
The award is given annually to recognize an outstanding work of literary criticism that exemplifies in spirit, scope, and integrity the kind of innovative critical interpretation of literature offered by Warren and Brooks, his frequent collaborator.
www.news.harvard.edu /gazette/2004/04.08/14-buell.html   (336 words)

  
 Cleanth Brooks (1906-1994)   (Site not responding. Last check: 2007-10-31)
Cleanth Brooks was born in Kentucky in 1906.
Transferring to Tulane University, Brooks received a Rhodes scholarship which led him to England to continue his research in language.
Though he wrote several critical studies on William Faulkner, Brooks was most widely known as the quintessential New Critic: his ideas, critical studies, and textbooks embodied everything that New Criticism stood for in practice and pedagogy.
oneweb.utc.edu /~tnwriter/authors/brooks.c.html   (186 words)

  
 Critical Theory: Cleanth Brooks
Cleanth Brooks (1906-1994) was born in Kentucky, and educated at Vanderbilt, Tulane, and Oxford where he was a Rhodes scholar.
To many minds, Brooks is the archetypal New Critic, the man whose catch phrases, critical studies, and college textbooks epitomized New Critical ideas, practice, and pedagogy.
Some of Brooks other works include two studies of William Faulkner (1963 and 1978), Modern Poetry and the Tradition (1939), Literary Criticism: A Short History (1957) with W. Wimsatt, and A Shaping Joy: Studies in the Writer's Craft (1972).
www.bedfordstmartins.com /litlinks/critical/brooks.htm   (194 words)

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