Download A Voice Still Heard: Selected Essays of Irving Howe by Irving Howe, Nina Howe PDF

By Irving Howe, Nina Howe

Man of letters, political critic, public highbrow, Irving Howe was once one in all America's such a lot exemplary and embattled writers. on the grounds that his demise in 1993 at age seventy two, Howe's paintings and his own instance of dedication to excessive precept, either literary and political, have had a energetic afterlife. This posthumous and capacious assortment comprises twenty-six essays that initially seemed in such guides because the New York overview of Books[/i, the [i]New Republic[/i, and the [i]Nation[/i. Taken jointly, they demonstrate the intensity and breadth of Howe's enthusiasms and diversity over politics, literature, Judaism, and the tumults of yankee society.

[i]A Voice nonetheless Heard is vital to the knowledge of the passionate and skeptical spirit of this lucid author. The publication kinds a bridge among the 2 parallel companies of tradition and politics. It indicates how politics justifies itself via tradition, and the way the latter activates the previous. Howe's voice is ever sharp, relentless, frequently scathingly humorous, revealing Howe as that rarest of critics—a genuine reader and author, one whose readability of fashion is as a result his disciplined and candid brain.

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Additional resources for A Voice Still Heard: Selected Essays of Irving Howe

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To critique is an act of reflection on the work: it means to potentiate it, to raise it to a higher level of consciousness. In his 1797–8 Fragmente und Studien, Novalis calls this process Romantisieren: ‘Romantisieren ist nichts, als eine qualitative Potenzierung’ (Novalis, Werke, p. 384). The reader purifies the work, shapes it, elevates diCerent parts of it by giving them new meanings. Only if it generates other forms and connections is the work a form of art. This process of raising the work, into previously unexplored aspects, reminds us of Benjamin’s theory of translation: ‘Thus translation, ironically, transplants the original into a more definitive linguistic realm since it can no longer be displaced by a secondary rendering.

Criticism manifested itself in numerous ways and domains, first and foremost in the critique of Reason itself, in reason’s renunciation of the grandiose constructs which identified it with the good, with being and with truth. Reason likewise ceased to be the home of the idea and became instead a journey, an investigative methodology based on scientific and empirical principles. Criticism also expressed itself as the critique of metaphysics and of its truths impervious to change. But it likewise became the critique of the certainties of traditional values, institutions and beliefs.

735), yet there is very little that is Classical, or even cognizant of the Classical, about the way in which they are conceived), I must now confess that perhaps the fullest and most interesting historicist contrast between Classical objectivity and Romantic subjectivity is to be found in Wordsworth himself – in the fascinating and too often overlooked ‘Letter to a friend of Burns’: Our business is with [the books of classical writers], – to understand and to enjoy them. And, of poets more especially, it is true – that, if their works be good, they contain within themselves all that is necessary to their being comprehended and relished.

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