Few can match Charles Rosen's cultivation and discernment, whether as pianist, music historian, or critic. Here he gives us a performance of literary criticism as high art, a critical conjuring of the Romantic period by way of some of its central texts. </p>
"What is the real business of the critic?" Rosen asks of George Bernard Shaw in one of his essays. It is a question he answers throughout this collection as he demonstrates and analyzes various critical approaches. In writing about the Romantic poets Lord Byron, William Wordsworth, William Cowper, and Friedrich Hölderlin, he examines the kind of criticism which attempts to uncover concealed code. He investigates the relationship between Romantic aesthetic theory and artworks, and explores the way Romantic art criticism has been practiced by critics from Friedrich Schlegel to Walter Benjamin. In essays on Honoré de Balzac, Robert Schumann, Gustave Flaubert, and others, he highlights the intersections between Romantic art and music; the artist's separation of life and artistic representations of it; and the significance of the established text. </p>
With an apt comparison or a startling juxtaposition, Rosen opens whole worlds of insight, as in his linking of Caspar David Friedrich's landscape painting and Schumann's music, or in his review of the theory and musicology of Heinrich Schenker alongside the work of Roman Jakobson. </p>
Throughout this volume we hear the voice of a shrewd aesthetic interpreter, performing the critic's task even as he redefines it in his sparkling fashion. </p>
0 有用 蟫尾 2022-12-17 00:32:07 英国
读罢感叹Rosen仍是一流的批评家,其中最后四篇最有意思,Benjamin认为作品是一堆美的废墟(很浪漫主义的看法),其中autonomy是绕不过去的话题;Schenker一篇很lucid,乃行家之见;Empson早被国人遗忘了,但他对intentionality的坚持让我不能苟同;最后萧伯纳作为音乐评论家的立场其实点醒我们,古典音乐的退场和缺少一流的批评家和一流趣味的观众密不可分。批评并不在于d... 读罢感叹Rosen仍是一流的批评家,其中最后四篇最有意思,Benjamin认为作品是一堆美的废墟(很浪漫主义的看法),其中autonomy是绕不过去的话题;Schenker一篇很lucid,乃行家之见;Empson早被国人遗忘了,但他对intentionality的坚持让我不能苟同;最后萧伯纳作为音乐评论家的立场其实点醒我们,古典音乐的退场和缺少一流的批评家和一流趣味的观众密不可分。批评并不在于do justice,而在于下每个判断背后的趣味、立场和见地。 (展开)
0 有用 无脊椎 2018-11-05 04:37:45
写本雅明那篇最精彩
0 有用 蟫尾 2022-12-17 00:32:07 英国
读罢感叹Rosen仍是一流的批评家,其中最后四篇最有意思,Benjamin认为作品是一堆美的废墟(很浪漫主义的看法),其中autonomy是绕不过去的话题;Schenker一篇很lucid,乃行家之见;Empson早被国人遗忘了,但他对intentionality的坚持让我不能苟同;最后萧伯纳作为音乐评论家的立场其实点醒我们,古典音乐的退场和缺少一流的批评家和一流趣味的观众密不可分。批评并不在于d... 读罢感叹Rosen仍是一流的批评家,其中最后四篇最有意思,Benjamin认为作品是一堆美的废墟(很浪漫主义的看法),其中autonomy是绕不过去的话题;Schenker一篇很lucid,乃行家之见;Empson早被国人遗忘了,但他对intentionality的坚持让我不能苟同;最后萧伯纳作为音乐评论家的立场其实点醒我们,古典音乐的退场和缺少一流的批评家和一流趣味的观众密不可分。批评并不在于do justice,而在于下每个判断背后的趣味、立场和见地。 (展开)
0 有用 无脊椎 2018-11-05 04:37:45
写本雅明那篇最精彩