A Pact of Love with Criticism, A Pact of Blood with the World Building on the legacy of Fernando F. Segovia, the pioneering essays in this volume redefine the intersection of biblical studies and geopolitics. Through a thorough exploration of how ancient texts and modern readers influence and reflect geopolitical dynamics, each contributor reveals how biblical narratives have shaped and been shaped by historical power structures, territorial conflicts and climate changes, and cultural exchanges. Essays employ contemporary geopolitical concepts that move beyond traditional readings to offer fresh insights into the strategic and ideological forces behind scriptural texts. An annotated interview with Fernando F. Segovia traces his immigration journey as an adolescent and its indelible imprint on his scholarship as a postcolonial critic. Contributors include Efraín Agosto, Amy Lindeman Allen, Reimund Bieringer, Mark G. Brett, Ahida Calderón Pilarski, Greg Carey, Jorge E. Castillo Guerra, Jin Young Choi, Stephanie Buckhanon Crowder, Gregory L. Cuéllar, Musa W. Dube, Neil Elliott, Eleazar S. Fernandez, Bridgett A. Green, Leticia A. Guardiola-Sáenz, Jacqueline M. Hidalgo, Knut Holter, Ma. Maricel S. Ibita, Ma. Marilou S. Ibita, John F. Kutsko, Sung Uk Lim, Francisco Lozada Jr., Luis Menéndez-Antuña, Rubén Muñoz-Larrondo, Robert Myles, Wongi Park, Mitri Raheb, Elisabeth Schüssler Fiorenza, Fernando F. Segovia, Yak-hwee Tan, Ekaputra Tupamahu, Gerald O. West, Hans (J. H.) de Wit, and H. Daniel Zacharias.

Said demonstrates that critical discourse has been strengthened by the writings of Derrida and Foucault and by influences like Marxism, structuralism, linguistics, and psychoanalysis. But, he argues, these forces have compelled literature to meet the requirements of a theory or system, ignoring complex affiliations binding the texts to the world.

The Critic in the Modern World explores the work of six influential literary critics-Samuel Johnson, William Hazlitt, Matthew Arnold, T.S. Eliot, Lionel Trilling and James Wood-each of whom occupies a distinct historical moment. It considers how these representative critics have constructed their public personae, the kinds of arguments they have used, and their core principles and philosophies. Spanning three hundred years of cultural history, The Critic in the Modern World considers the various ways in which literary critics have positioned themselves in relation to the modern tradition of descriptive criticism. In providing a lucid account of each critic's central principles and philosophies, it considers the role of the literary critic as a public figure, interpreting him as someone who is compelled to address the wider issues of individualism and the social implications of the democratising, secularising, liberalising forces of modernity.

“Beautiful: honest, raw, careful, soulful, brave, and incredibly readable.” —Nick Hornby An exquisitely rendered portrait of a unique father-daughter relationship and a moving memoir of family and identity. Growing up on the Upper West Side of New York City in the 1970s, in an apartment filled with dazzling literary and artistic characters, Priscilla Gilman worshiped her brilliant, adoring, and mercurial father, the writer, theater critic, and Yale School of Drama professor Richard Gilman. But when Priscilla was ten years old, her mother, renowned literary agent Lynn Nesbit, abruptly announced that she was ending the marriage. The resulting cascade of disturbing revelations—about her parents’ hollow marriage, her father’s double life and tortured sexual identity—fundamentally changed Priscilla’s perception of her father, as she attempted to protect him from the depression that had long shadowed him. A wrenching story about what it means to be the daughter of a demanding parent, a revelatory window into the impact of divorce, and a searching reflection on the nature of art and criticism, The Critic’s Daughter is an unflinching account of loss and grief—and a radiant testament of forgiveness and love.

Originally published in 1967. In The Play and Place of Criticism, Professor Krieger addresses basic questions related to criticism in the title essay that forms the introduction to this collection and that constitutes a considered statement of his "contextualist" position. In agreement with Spitzer, Krieger believes that the critic has a valuable part to play in relating the "new words" of the individual poem to the "old words" of the language. He goes further in identifying the role of the critic as essentially rhapsodic, a sharing-in and an expression of the poet's "fine frenzy," which, when it succeeds, transports the critic beyond words and dooms his analytical efforts to failure. Thus, while defending the critic's right to exercise "the free play of the mind" in approaching his subject, the author insists that the critic recognize his subordinate "place" in performing his act of mediation. Elsewhere in the volume Krieger uses other terms and metaphors to explore similar problems revolving around the mediate and the immediate in poetry and criticism. In calling for a poetry of "still movement," for example, he examines both the opposition and the union of temporal with spatial or plastically formal elements, of the dynamically empirical with the statically archetypal. Having defined his critical position in these ways, Krieger relates it to other schools of criticism and applies its methods to the analysis of works by Shakespeare, Pope, Arnold, Hawthorne, and others.

This book comprises twenty-two chapters, including previously unpublished material, written over the entire span of Marianne Shapiro's working life. Its opening section on the European heritage begins with a long essay on the Aeneid that breaks new interpretative ground by examining the epic from the perspective of Virgil's implicit prescriptions for leaders and leadership. Chapters on Dante add to the store of knowledge on his minor works as well as the Comedy, and are followed by close readings of Petrarch and Provençal poetry. The American and comparative literature section features an analysis of John Ashbery's New Spirit and a page-by-page commentary on Nabokov's Lolita and Pnin. The book is rounded out by three chapters in a semiotics section, the highlight of which is an analysis of the Christian Trinity based on a deep understanding of Peirce's sign theory.