LEADER 03671oam 2200529I 450 001 996248129403316 005 20210209175134.0 010 $a0-429-50119-6 010 $a0-429-96974-0 010 $a1-4294-8745-3 035 $a(CKB)1000000000476390 035 $a(dli)HEB07706 035 $a(MiAaPQ)EBC5323464 035 $a(MiAaPQ)EBC1725240 035 $a(OCoLC)1029244345 035 $a(EXLCZ)991000000000476390 100 $a20180813h20182001 uy 0 101 0 $aeng 135 $aurmnummmmuuuu 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aCritical theory and the literary canon /$fby E. Dean Kolbas 205 $aFirst edition. 210 4$dİ2001. 210 1$aBoca Raton, FL :$cRoutledge, an imprint of Taylor and Francis,$d[2018]. 215 $a1 online resource (vii, 182 p. ) 311 $a0-367-09887-3 311 $a0-8133-9813-4 320 $aIncludes bibliographical references and index. 327 $tIntroduction --$tPart One: History, Politics, and Culture --$t1. Canons Ancient and Modern --$t2. The Contemporary Canon Debate --$t3. Cultural Reproduction --$tPart Two: Critical Aesthetic Theory --$t4. Critical Theory and Canonical Art --$t5. Subverting the Canon: Sociology, New Historicism, and Cultural Studies --$t6. The Boundaries of a Critical Theory of Canon Formation --$tConclusion: A Canon of Art, a Politics of Ends 330 3 $aKolbas stakes out new territory in assessing the war over literary canon formation, a subject that contemporary polemicists have devoted much ink to. Throughout this succinct manuscript, Kolbas ranges through the sociology and politics of culture, aesthetic theory, and literary theory to develop his point that texts not only must should be situated in the historical and material conditions of their production, but also evaluated for their very real aesthetic content. One reason the is an important issue, Kolbas contends, is that the canon is not simply enclosed in the ivory tower of academia; its effects are apparent in a much wider field of cultural production and use. He begins by critiquing the conservative humanist and liberal pluralist positions on the canon, which either assiduously avoid any sociological explanation of the canon or treat texts as stand-ins for particular ideologies. Kolbas is sympathetic to the arguments of Bourdieu et. al. regarding positioning the canon in a wider "field of cultural production" than the university, but argues that theirs are purely sociological explanations of aesthetics (i.e., there is no objective aesthetic content) that ignore art's autonomous realm, which he argues -- a la Adorno -- exists (if only problematically) Ultimately, he argues that critical theory, particularly the arguments of Adorno on aesthetics, offers the most fruitful path for evaluating the canon, despite the approach's clear flaws. His vision is a sociological one, but one that treats the components of the canon as possessing objective aesthetic content, albeit content that shifts in meaning over history. 410 0$aACLS Humanities E-Book. 606 $aCriticism$xHistory$y20th century 606 $aCanon (Literature) 606 $aLiterature, Modern$xHistory and criticism$xTheory, etc 608 $aElectronic books. 615 0$aCriticism$xHistory 615 0$aCanon (Literature) 615 0$aLiterature, Modern$xHistory and criticism$xTheory, etc. 676 $a801.950904 700 $aKolbas$b E. Dean.$0283051 801 0$bFlBoTFG 906 $aBOOK 912 $a996248129403316 996 $aCritical theory and the literary canon$9668698 997 $aUNISA