Keesey, Introduction and Ch 1 (Introduction)
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Corey Struss on Keesey, Introduction and Ch 1 (Introduction): “Approach the poem through the study of the life a
Mara Barreiro on Keesey, Introduction and Ch 1 (Introduction): "Without clarity, we seldom think well; without pr
Bethany Bouchard on Keesey, Introduction and Ch 1 (Introduction): "And because 'literary criticism' may be broadly d
Ellen Einsporn on Keesey, Introduction and Ch 1 (Introduction): The Dead Know Nothing http://blogs.setonhill.edu/E
kayley Dardano on Keesey, Introduction and Ch 1 (Introduction): WHy does anything else matter but what I think? “T
Jenna on Keesey, Introduction and Ch 1 (Introduction): What’s your intention? “The evidence for “intenti
James Lohr on Keesey, Introduction and Ch 1 (Introduction): "In practice, a single critic, sometimes in a sing
Jodi Schweizer on Keesey, Introduction and Ch 1 (Introduction): You know what they say about assumption...http://b
Katie Vann on Keesey, Introduction and Ch 1 (Introduction): "Because a study of the circumstancse of the poem'
Bethany Merryman on Keesey, Introduction and Ch 1 (Introduction): relativity is THRILLING!!! http://blogs.setonhill.
Mara Barreiro on Keesey, Introduction and Ch 1 (Introduction): "Without clarity, we seldom think well; without pr
Bethany Bouchard on Keesey, Introduction and Ch 1 (Introduction): "And because 'literary criticism' may be broadly d
Ellen Einsporn on Keesey, Introduction and Ch 1 (Introduction): The Dead Know Nothing http://blogs.setonhill.edu/E
kayley Dardano on Keesey, Introduction and Ch 1 (Introduction): WHy does anything else matter but what I think? “T
Jenna on Keesey, Introduction and Ch 1 (Introduction): What’s your intention? “The evidence for “intenti
James Lohr on Keesey, Introduction and Ch 1 (Introduction): "In practice, a single critic, sometimes in a sing
Jodi Schweizer on Keesey, Introduction and Ch 1 (Introduction): You know what they say about assumption...http://b
Katie Vann on Keesey, Introduction and Ch 1 (Introduction): "Because a study of the circumstancse of the poem'
Bethany Merryman on Keesey, Introduction and Ch 1 (Introduction): relativity is THRILLING!!! http://blogs.setonhill.
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EL 312 Roster
Mara Barreiro
Bethany Bouchard
Greta Carroll
Kayley Dardano
Ellen Einsporn
Erica Gearhart
Quinn Kerno
James Lohr
Bethany Merryman
Jenna Miller
Sue Myers
Angela Palumbo
Jodi Schweizer
Corey Struss
Michelle Tantlinger
Derek Tickle
Katie Vann
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Check it out!
http://blogs.setonhill.edu/AngelaPalumbo/2009/02/wacky_wording_how_wording_can.html
"'the real 'meaning' of literature results from the interaction of audience and work'" (Kessey 3). Click here!
There may be no such thing as an “unmediated response,” but there is such a thing as limited preconceptions.
“For the belief is widespread that the reader should confront the work with no preconceptions and should achieve thereby an authentic, unmediated response.
"But in fact there can be no unmediated response” (Keesey 1).
http://blogs.setonhill.edu/GretaCarroll/2009/02/there_may_be_no_such_thing_as.html
Yay!--There Are Pictures in This Book!
http://blogs.setonhill.edu/EricaGearhart/2009/02/yay--there_are_pictures_in_thi.html
relativity is THRILLING!!!
http://blogs.setonhill.edu/BethanyMerryman/2009/02/sounds-familiar.html
"Because a study of the circumstancse of the poem's composition, no matter how carefully conducted, can never tell us much about these features, it can never lead to critical interpretation. The historians' tendency to treat the poem like any other kind of document, their failure to conceive of poetry as a special use of language, deflects attention to nonesstenial, "unpoetic" factors, and when historians do provide interpretations, they are likely to be reductive. (Keesey 13).
You know what they say about assumption...http://blogs.setonhill.edu/JodiSchweizer/2009/02/assumption_makes_a_you_know_wh.html
"In practice, a single critic, sometimes in a single essay, may operate in two or more of these contexts. Furthermore, the contexts themselves tend to shade into each other as we move from their central to their peripheral concerns" (Keesey 5). In other words, no matter which form of literary criticism one chooses to use, there comes a time when the points that support one, will blur with the points supporting another.
What’s your intention?
“The evidence for “intention” is simply our understanding of the work itself. The procedure becomes genetic only when the evidence for what was intended, consciously or otherwise, is sought elsewhere, in letters, diaries, recorded conversations, in assumptions about what the “age” demanded or understood-in other words, only when “intention” is conceivably different from the achieved poem and independently knowable” (Keesey 14).
http://blogs.setonhill.edu/JennaMiller/2009/02/whats-your-intention.html
WHy does anything else matter but what I think?
“These two ideas, then, one stressing the individuality of the poet, the other the individuality of the age,”
“Approach the poem through the study of the life and times of its author”
The Dead Know Nothing
http://blogs.setonhill.edu/EllenEinsporn/2009/02/the_dead_know_nothing.html
"And because 'literary criticism' may be broadly defined as the art of interpreting literature, every reading is an act of criticism and every reader is a critic," (Keesey 1).
http://blogs.setonhill.edu/BethanyBouchard/2009/02/well_that_really_narrows_it_do.html
"Without clarity, we seldom think well; without provocation, we seldom think at all.
“Approach the poem through the study of the life and times of its author”
http://blogs.setonhill.edu/CoreyStruss/2009/02/the_life_and_times_of.html