Mary Grenander (7 results)

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Ex-library edition with stickers and stamps; the jacket has a mylar sleeve with tape; there is light wear around the corners of the book and jacket.

Paperback. Condition: Very Good. 1st Edition. stapled tan printed wraps, pp. 27-34, an author's off-print from the English Record, Voluime XXXI, No. 2: December, 1970with typed, singed letter from the author laid in. Signed & Inscribed By Author.

Hardcover. Condition: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good+. Light rubbing to jacket.

Hardcover. Condition: Very Good. Privately owned hardcover, no jacket, unmarked text, Ships from Berlin Bookshop bxn128.

Softcover. Condition: Near Fine. First Edition. Single Issue. Stapled wrappers. 48pp. Fine. Contributions by Mary A. Culliton, M.E. Grenander, Charles Edward Eaton, Dale Goodhue, P.W. Gray, Larry Bowman, Terry Stokes, Susan Bartels, Phyllis Brooks, Carl Schiffman, Gerald T. Gordon, and John Humma.

Reprint., stapled. Condition: Gut. pp. 224-248. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - A very good and clean copy. - From the text: Macbeth poses a fundamental problem for the aesthetician. Modern readers as disparate as the composer Ernest Bloch, the anthropologist Loren Eiseley, the poet Kenneth Rexroth, and the cinéaste Roman Polanski have testified to its enduring power. And yet the recurring challenge, as A. C. Bradley long ago recognized and as Rexroth has reaffirmed, is that Shakespeare's play does not fit the criteria for a tragedy laid down in Aristotle's Poetics. Lily Bess Campbell, who referred to Hatnlet, Othello, and King Lear as "tragedies" (of, respectively, Grief, Jealousy, and Wrath in Old Age), neatly sidestepped the issue in Macbeth by calling it a "study" (in Fear). Most critics have nevertheless tried to explain this drama (and other similar works) according to the Aristotelian theory of tragedy. Their attempt is subsumed under a larger problem, outlined by Bernard Beckerman: the disproportion in critical refinement between the Poetics and the primitive theories attempting to describe alternate dramatic species. Beckerman therefore calls for "a comprehensive theory' which'encompasses but goes beyond the Aristotelian and yet within which individual works can be located."' This can be developed only by examining those dramas which do not yield to Aristotelian analysis. For this reason, Macbeth raises questions of a special kind, perennially fascinating to those who wish to extend critical theory in the direction of greater flexibility and subtlety. If one assumes that criticism must follow creation--that the critic's job is not to lay down a priori rules, but to examine the workings of a play which experience has shown to be effective--then evidently Macbeth requires us to develop some aesthetic principles that have not heretofore been formulated. - Wikipedia: Mary Elizabeth Grenander (21 November 1918 - 28 May 1998), was a professor of English and philanthropist, for whom the M.E. Grenander Department of Special Collections & Archives of the University Libraries of the University at Albany, the State University of New York is named. She was an authority on Ambrose Bierce. Sprache: Englisch Gewicht in Gramm: 550.…