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** Get Free Ebook Agon: Towards a Theory of Revisionism (Galaxy Books), by Harold Bloom

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Agon: Towards a Theory of Revisionism (Galaxy Books), by Harold Bloom

Agon: Towards a Theory of Revisionism (Galaxy Books), by Harold Bloom



Agon: Towards a Theory of Revisionism (Galaxy Books), by Harold Bloom

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Agon: Towards a Theory of Revisionism (Galaxy Books), by Harold Bloom

In the culmination of a series that began with The Anxiety of Influence and A Map or Misreading, Harold Bloom expands upon his controversial theory of revisionism, which he views as a contest of opposing artistic and moral drives. From this theoretical perspective, Bloom reexamines Freud, religious sources of literature, literary modes such as fantasy, and the sequence of American writers that includes Ralph Waldo Emerson, Walt Whitman, Wallace Stevens, Hart Crane, and John Ashbery.

  • Sales Rank: #2469496 in Books
  • Published on: 1983-09-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .71" w x 5.38" l,
  • Binding: Paperback
  • 352 pages

Review
"Perfect for confronting students of poetry with the issues of poetic influence, and the more general relationship of the new with the old."--Scott Cairns, University of North Texas

"There is...here a genuine moral passion for the values of literature and real insights into texts and textual relationships."--Choice

"Harold Bloom is one of our most articulate and original critics. In this volume of essays, he amplifies, in more detail than elsewhere, some of the theoretical ideas he has developed....[The volume] provides an excellent introduction to Bloom's range and originality."--Virginia Quarterly Review

"These sundry pieces make one tightly clenched argument, for the author is committed to pursuing the manifestations of a single master idea in whatever he touches."--The New York Times Book Review

"Readers of these essays...will be unsettled by Bloom's deliberately provocative sentences on anxiety, knowledge, evasion, negation, rhetoric....But those who want to accompany Bloom in his explorations of culture and poetry will go willingly down these byroads with him."--Helen Vendler, The New Republic

"The latest installment in Harold Bloom's...theory of poetic creation as a desperate wrestling with forebears....It makes clearer the character and purpose of Bloom's project and in particular what it might mean for him to be a man who 'begins to see everything.'"--The New York Times Book Review

About the Author
Harold Bloom, Yale University.

Most helpful customer reviews

1 of 3 people found the following review helpful.
Five Stars
By richard steinberg
Excellent

14 of 27 people found the following review helpful.
A club masquerading as a lantern
By A Customer
While Professor Bloom provides us with many ideas he seems to have mistaken the David for a junk pile at a flea market; careful exposition for cocktail-party twaddle. The major "thesis" of the work, called "revisionism," is that all poetry (meaning those poems which the author cites within the work) is an attempt to articulate meaning against both previous articulations and the abyss of the cosmos. The notion that all poetry is born of struggle is neither new nor revelatory; importing gnosticism and Freud into the commentary only muddies the waters. Struggle is not the same as "catastrophe" (a term he never defines) and incorporeal, intelligible structure is not the same as the yawning abyss. Professor Bloom also seems to conflate the seeing eye which views the cosmos and the touching hand which "feels" the cosmos hence, he is blind to the numerous references to vision in Emerson and others in favor of his pet thesis, all knowing is a grasping and deforming. Ironically, as he lashes out at the deconstructionists and the Lacanians for their inability to explain one or more art forms he, himself, is unable to conduct a serious, sustained reading of philosophy or literature. Indeed, the good professor never articulates the "difference" between poetry and philosophy. This fatal flaw renders the rest of his "radical" reading so much bric-a-brac. Perhaps we could turn his "reading" back upon himself and ask the honorable professor what sort of pre-adolescent "catastrophe" he is attempting to defend himself from by the creation of such an elaborate "theory of reading" or, even more on point, what type of "catastrophe" a Freudian "catastrophe theory" is attempting to work through.
The major benefit of the book is in its passionate argument that all poetry is indeed an attempt at articulating the structure of an otherwise mute cosmos. The rest is a procrustean coffin.

11 of 26 people found the following review helpful.
Ivy League "radicalism"
By A Customer
This book (and the previous review) seems to typify just how far Nietzsche has penetrated into academe and what strange poses he is being forced to take. When Bloom states that "the language...of criticism ought to be pragmatic and outrageous..."(p.19) we wonder if he is really aware of the contradiction in such a viewpoint. For, as the high priest of pragmatism, William James, frequently stated "pragmatism [is] a mediator and reconciler..."(Pragmatism Chapt. 1). Pragmatism, in other words, is an elaborate justification of conformity. It may not be pragmatic at some time to epater le bourgeoise and it is certainly not outrageous to mediate or reconcile. The Yale professor is trying to square the circle. This paradox runs through the work as, on another occasion, we're told that "it [ie. the work in question] cannot become the American religion until it first is canonized as American literature" (p.150). Jeremiah must become a literature professor at Yale, it would seem. Bloom's (and our ecstatic reviewer's) blindness to this problem is difficult to account for.
Returning to our opening claim, Bloom's desire to outrage is rooted in his admiration of Nietzsche's glorification of the poetic soul freely creating worlds ex nihilo. We point out in-passing that his avowed opponents, the franco-heideggerian deconstructionists, also trace their roots to this philosopher. What we appear to be reading is an academic quarrel among tenured radicals who are trying to figure out whether they must eat the little end or the big end of the egg first. For Bloom, "the true ship is the shipbuilder" and "right reading is not reading well" (p.20). Rather than creating worlds ala Nietzsche, Bloom believes in creating interpretations. When we read and interpret we produce a text which is itself a "misreading" of the text we are attempting to read. Misunderstanding is more important than comprehension and the job of the critic is to provoke, rather than to explain. [In this respect he is in union with his academic "targets."] The sad fact here is, however, that there is no way to determine a sound from an unsound reading, an accurate one from a child's scrawlings on a napkin (p.16). This is the night in which all cows are black and Nietzsche's philosopher suffers from the same incoherence, only he attempts to seek refuge in the classification of interpretations as "noble" and "base." Since noble and base are judgments made by others, they are as arbitrary as the creations they purport to laud or condemn. No one has yet successfully unified James and Nietzsche; convention and radicalism.
If we pay attention to the attempts at "criticism" in the work we are thoroughly disheartened to discover that Bloom has chosen to ignore the obvious in favor of the ridiculous. While dismissing the blatant Hegelianism of Emerson, he prefers to run him through the Freudian meat grinder in an attempt to reclaim the Concord sage as 100% American. The silliness of such an activity should be self-explanatory. Bloom, of course, would not object to this characterization since "misreading" is more important than understanding (p.16). It is odd that he expresses such faith that his critics will, one day, understand him. "Upon what evidence do you make such a claim," we ask. Again, the longing for public acceptance overrides the desire to be "outrageous." On a more serious note, the need for Bloom to marshall the various and oppositional forces of gnosticism, kabbala, psychoanalysis and pragmatism bespeaks a reader's sensibility which is fundamentally impoverished. His heroes, Johnson, Empson, Wilde, and Pater felt no need to adopt an alien method or religion because they saw themselves as reconnecting with the work and brushing away the sediment of dull, received opinion. Kabbalah and gnosticism insist that God is "x" but pragmatism believes that it only matters if we act upon it and psychoanalysis tells us that the whole thing is just a defense mechanism to deal with the difficulties of living. Why the Yale professor chose to ignore this obvious incompatibility is deeply troubling for it speaks volumes about the quality of scholarship in our most elite universities.

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