The theory of literary criticism: A logical analysis by John M Ellis (PDF)

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    Ebook Info

    • Published: 2002
    • Number of pages: 274 pages
    • Format: PDF
    • File Size: 5.79 MB
    • Authors: John M Ellis

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    ⭐When John Ellis wrote THE THEORY OF LITERARY CRITICISM in 1974, he chose to avoid the practice used by most other theorists who favored one school of critical theory over another. Ellis daringly approached theory holistically in that his goal was not to ponder the intricacies of selected theories but rather he wished to apply rationality and logic to theory itself. His interest lay in setting out basic principles of responsible analysis that could be used by any theorist. As he set out what to him represented common sense tools of criticism, he described what competent theorists ought to do or should refrain from doing. In a later text, AGAINST DECONSTRUCTION, Ellis uses the ideas set out in this earlier book to denounce a wildly popular school called deconstructionism that violated more than a few of his enunciated precepts. For example, when any theorist claims that his proposed school of criticism is exempt from traditional rules demanding proof, then that school is probably ethically and linguistically bankrupt. Further, if that theorist makes an appeal to seeming vainglorious complexity of thought and structure while couched in scholarly jargonese, then that school is also suspect. He later adds that “The development of a theoretical analysis is severely inhibited if the purpose of the analysis is to justify a particular reform program (9). In 1974, deconstruction as a working theory had only just begun to work its way into academia, but its inherent flaws were well prophesized by Ellis, who has a number of pet peeves. He has little patience with those who set forth grandiose theories without first foregrounding them in unassailable logic. Ellis idolizes German philosopher Ludwig Wittgenstein, who when faced with a novel but untested proposition, would invariably respond with “what distinction is being made by this proposition?” (19) Only those theories that can logically show utility and purpose have value for Ellis.Much of Ellis’ book is devoted to the minutia of criticism, areas that few others care to address. He continually asks the reader for definitions of terms that seem to have no ready response, and once he does so, then he asks for a series of follow up questions, most of which involve evaluating the purpose and scope of those terms. Not surprisingly, the twin terms “literature” and “theory” figure prominently in such discussions. As one reads more of Ellis, one can sense the logical mind behind his sometimes not so gentle probing. His book is not without fault. Ellis often spends far too much time setting up his straw men puppets only to later smack them down, which considering the need for such ubiquitous sackings is not necessarily a bad thing. For modern students of theory who fail to see the linguistic forests for the deceptive trees, THE THEORY OF LITERARY CRITICISM is a much needed wake up call before deciding that the newest school of theory is truly the Holy Grail literary Theory of Everything.

    ⭐This book is an interesting corrective to the vast majority of works on literary theory. While some are traditionalist in their exposition, moving from Aristotle and Horace to Sidney, Johnson, et al., other more contemporary ones are particularly indebted to Nietzsche and utilize the works of his French followers. Ellis takes a different tack. His inspiration is Wittgenstein. Thus, he proceeds to demonstrate that many of the ‘problems’ of literary theory are not problems at all, but have arisen because of the naïve use of reference theories of language. (He also argues that contemporary linguistics will not be of much use either, since Chomsky and his followers also utilize a reference theory of language.)Essentially, Ellis argues that we should take the pronouncements of literary theorists and ask whether or not those pronouncements actually involve logical distinctions, as opposed, e.g., to issues operating at different levels of analysis. In concluding that they generally do not represent such distinctions he undercuts the ‘theoretical’ impulse in general and argues that we have to subject our ‘principles’ to logical analysis and remember that when we are trying to, e.g., define ‘literature’ we should do it in terms of the response of generations of readers/listeners. “Literature” is what its consumers have found it to be. Thus, the aspiring theoretician should approach his or her subject with the realization that literary discourse is, essentially, a language game shaped over millennia.This recalls George Steiner’s argument that literary criticism does not “apply” in the ways in which natural science does, because it cannot free itself from the language circle in which it is trapped.The “uses” of literature thus becomes an empirical question that is very, very far ranging. Ellis suggests, e.g., that ‘comparative literature’ not focus on such things as French vs. German texts (this, he argues, is comparable to attempting to understand ‘birds’ by looking at two types of crows). Instead, we should look at the uses of literature in a primitive tribal culture vs. those in an advanced industrial one. Thus, he is closing doors on the one hand, but on the other he is opening them.Since the arguments involve language and logic and operate on a fairly high level of abstraction there are comparatively few concrete examples offered. This dries out the narrative to a degree, but then that is the point of the exercise—to undercut current approaches, deflate naïve confidences and remind us that we need to place our activities on a far more solid footing.An interesting book.

    ⭐Ellis’ musings on the good, the bad and the just plain UGLY in the world of Literary Criticism

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