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Agon : towards a theory of revisionism / Harold Bloom

Main Author Bloom, Harold, 1930- Country Estados Unidos. Publication New York : Oxford University Press, 1982 Description IX, 336 p. ; 22 cm ISBN 0-19-502945-3 CDU 820(73)
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Holdings
Item type Current location Call number Status Date due Barcode Item holds
Monografia Biblioteca Vitor Aguiar e Silva
BVAS 820(73) - B Indisponível | Not available 26463
Total holds: 0

Reviews provided by Syndetics

Kirkus Book Review

Less a contribution to Bloom's esoteric theoretical system (The Anxiety of Influence, A Map of Misreading, etc.) than an essay in nervous self-classification--fascinating as such, but excruciating, too, in its twists and turns, its fecklessness. Unsurprisingly, Bloom once again stresses ""misprision,"" ""troping,"" the three elements of ""strong readings of belated poems"": ""negation, evasion, extravagance."" He jumps across despised Modernism on the back, now, of Emerson--whom Bloom sees as the foremost American Gnostic (his classification for himself, early on). In opting for pneuma (spark) over psyche (adhesive self--to HB), Emerson made everything dependent on a ""reader's Sublime."" Where do we find this Sublime? In Whitman, in Hart Crane (the one successful critical examination), in Donald Lindsay's Gnostic fantasy A Voyage to Arcturus (on which Bloom's novel The Flight to Lucifer is modeled), in John Ashbery and John Hollander--all of them in quest of ""an illusion of identification or possession; something we can call our own or even ourselves."" Yet Bloom's attentions are particularly unfocused in this book, perhaps because he is preoccupied with defending himself against antagonists: the deconstructionists, the imaginationists, the Poundians, the lightweights. If anything is distressing here, in fact, it's the scantiness of serious analysis. Gnostics, of course, may not need to analyze: ""Loving poetry is a Gnostic passion not because the Abyss itself is loved, but because the lover longs to be yet another Demiurge."" Still, the scattershot approach ill suits Bloom's academic formalism--leaving it less defined, rather than more. In the end, one has the nagging suspicion that Bloom is promoting an art so vague, so self-erasing, that only the university critic could have the time and temper to cosset it. Copyright ©Kirkus Reviews, used with permission.

Author notes provided by Syndetics

Harold Bloom was born on July 11, 1930 in New York City. He earned his Bachelor of Arts from Cornell in 1951 and his Doctorate from Yale in 1955.

After graduating from Yale, Bloom remained there as a teacher, and was made Sterling Professor of Humanities in 1983. Bloom's theories have changed the way that critics think of literary tradition and has also focused his attentions on history and the Bible. He has written over twenty books and edited countless others. He is one of the most famous critics in the world and considered an expert in many fields. In 2010 he became a founding patron of Ralston College, a new institution in Savannah, Georgia, that focuses on primary texts.

His works include Fallen Angels, Till I End My Song: A Gathering of Last Poems, Anatomy of Influence: Literature as a Way of Life and The Shadow of a Great Rock: A Literary Appreciation of The King James Bible.

Harold Bloom passed away on October 14, 2019 in New Haven, at the age of 89.

(Bowker Author Biography)

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