Academic Instincts

Передня обкладинка
Princeton University Press, 10 січ. 2009 р. - 200 стор.

In this lively and provocative book, cultural critic Marjorie Garber, who has written on topics as different as Shakespeare, dogs, cross-dressing, and real estate, explores the pleasures and pitfalls of the academic life. Academic Instincts discusses three of the perennial issues that have surfaced in recent debates about the humanities: the relation between "amateurs" and "professionals," the relation between one academic discipline and another, and the relation between "jargon" and "plain language." Rather than merely taking sides, the book explores the ways in which such debates are essential to intellectual life. Garber argues that the very things deplored or defended in discussions of the humanities cannot be either eliminated or endorsed because the discussion itself is what gives humanistic thought its vitality.


Written in spirited and vivid prose, and full of telling detail drawn both from the history of scholarship and from the daily press, Academic Instincts is a book by a well-known Shakespeare scholar and prize-winning teacher who offers analysis rather than polemic to explain why today's teachers and scholars are at once breaking new ground and treading familiar paths. It opens the door to an important nationwide and worldwide conversation about the reorganization of knowledge and the categories in and through which we teach the humanities. And it does so in a spirit both generous and optimistic about the present and the future of these disciplines.

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Зміст

1 THE AMATEUR PROFESSIONAL AND THE PROFESSIONAL AMATEUR
3
2 DISCIPLINE ENVY
53
3 TERMS OF ART
97

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Сторінка 68 - The table was a large one, but the three were all crowded together at one corner of it. "No room! No room!" they cried out when they saw Alice coming. "There's plenty of room!
Сторінка 73 - But although each art has thus its own specific order of impressions, and an untranslatable charm, while a just apprehension of the ultimate differences of the arts is the beginning of aesthetic criticism; yet it is noticeable that, in its special mode of handling its given material, each art may be observed to pass into the condition of some other art...
Сторінка 95 - The geranium in the urn became startlingly visible and, displayed among its leaves, he could see, without wishing it, that old, that obvious distinction between the two classes of men ; on the one hand the steady goers of superhuman strength who, plodding and persevering, repeat the whole alphabet in order, twenty-six letters in all, from start to finish; on the other the gifted, the inspired who, miraculously, lump all the letters together in one flash — the way of genius.
Сторінка 110 - For by deviating in exceptional cases from the normal idiom, the language will gain distinction; while, at the same time, the partial conformity with usage will give perspicuity.
Сторінка 156 - Poetry I, too, dislike it: there are things that are important beyond all this fiddle. Reading it, however, with a perfect contempt for it, one discovers in it, after all, a place for the genuine. Hands that can grasp, eyes that can dilate, hair that can rise if it must, these things are important not because a high-sounding interpretation can be put upon them but because they are useful.
Сторінка 65 - Closely related races keep one another at arm's length; the South German cannot endure the North German, the Englishman casts every kind of aspersion upon the Scot, the Spaniard despises the...
Сторінка 74 - French poetry generally with the art of engraving, being more than mere figures of speech; and all the arts in common aspiring towards the principle of music; music being the typical, or ideally consummate art, the object of the great Andersstreben of all art, of -all that is artistic, or partakes of artistic qualities.
Сторінка 187 - ... make these retreats more like the dens of "robbers, or holes of foxes, than the fortresses of fair warriors, which, if it be hard to get them out of, it is not for the strength that is in them, but the briars and thorns, and the obscurity of the thickets they are beset with. For untruth being unacceptable to the mind of man, there is no other defence left for absurdity but obscurity.

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Про автора (2009)

Marjorie Garber is William R. Kenan, Jr. Professor of English at Harvard University and Director of Harvard's Humanities Center in the Faculty of Arts and Sciences. The author of ten books, most recently Quotation Marks and The Medusa Reader, she is also the editor of many collections of essays and a regular contributor to the New York Times, the Atlantic Monthly, and other publications.

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