Free Critics Essays and Papers

Being a Critic of the Arts Everyday, we act as critics, i.e., deciding which film to see or which channel to watch. Much of the time, experience guides us through the aesthetic judgments we make. Left on our own, however, we can go only so far. As Martin and Jacobus (1997) argue, in studying the essentials of criticism and in learning how to put them into practice, we develop our capacities as critics (p. 48). 1. introduction We all resist taking on the critic's role because we value the

Amal Mohaya AlRekabi Course : Poetry Matthew Arnold as a Poet and Critic The word "criticism" is derived from a Greek word that means "judgment". So, criticism is basically the exercise of judgment, and literary criticism is, therefore, the exercise of judgment on works of literature. From this, it is clear that the nature of literary criticism is to examine a work of literature, and its function is to identify its points of excellence and its inadequacies, and finally to evaluate its artistic

Critics of The Adventures of Huckleberry Finn The Adventures of Huckleberry Finn is considered by many to be the greatest American novel ever written.  Despite this praise, Mark Twain’s masterpiece has never been without criticism.  Upon its inception it was blasted for being indecent literature for young readers because of its lack of morals and contempt for conformity.  Modern indignation toward Huck Finn arises from its racist undertones, most notably Twain’s treatment of the character Jim

An Examination of Rubyfruit Jungle and Her Critics Rita Mae Brown's first novel, Rubyfruit Jungle made waves when it was first released in 1973. Its influence has not gone away over the years and is in its seventh printing. While mainstream critics failed to acknowledge Rubyfruit Jungle in their papers, magazines and discussions on contemporary literature, there are plenty of non-mainstream voices to fill the void. While these lesser-known sources are not always credible, and certainly not always

Anne Bronte's Agnes Grey and the Critics Little is known about the composition of Anne Bronte's book Agnes Grey. Many critics believe that the original draft of Agnes Grey was titled, Passages in the Life of an Individual and was written July of 1845. The first edition of the novel was published in 1847 in combination with Emily Bronte's Wuthering Heights. Through out her life, Anne had written many poems and finished two complete novels. Both of her novels, Agnes Grey and The Tenant of

Coleridge's art criticism to comment upon his practice as a theorist? Are his aesthetic ideas applicable to his practice as a critic of the practice of poetic composition? Is it possible that some leverage could be obtained by torquing Coleridge's theoretical statements about poetry in particular and art in general to comment on his own compositional practice as a critic? Quite simply, is Coleridge's theory true to the ideals of his critical practice? The caveat here is that it is precisely my intention

Nothingness “Accordingly, any interpretation that purports to know who Godot is (or is not), whether he exists whether he will ever come, whether he has ever come, or even whether he may have come without being recognized (or possibly in disguise) is, if not demonstrably wrong, at least not demonstrably right” (Hutchings 27). “Although works of the theater of the absurd, particularly Beckett’s, are often comical, their underlying premises are wholly serious: the epistemological principle of

Kurt Vonnegut as Social Critic Those who write on the human condition are often philosophers who write with convoluted language that few can understand. Kurt Vonnegut, however, focuses on the same questions, and provides his own personal answers with as much depth as that of the must educated philosopher. He avoids stilted language typical of philosophers, using shorter sentences, less complex vocabulary, humorous tangents, and outrageous stories to get his point across. With this style, Vonnegut

the principal "subversions," in The Merchant of Venice that modern and postmodern critics have imposed upon on the play.  Without its’ alleged contradictions, the play has a tight formalist structural unity, it focuses on an essentialist Platonic idea, and, resolving all conflicts, it ends in closure. On the topic of Antonio's sadness, Granville picks up a clue that to my knowledge no modern critic has noticed.  In his "methodizing" process, he moved Antonio's play-opening line--"I

both praised and rejected by others. In a recent 2011 article by Bert Cardullo, he explains the two main types of persons whose main jobs are to look over these artistic performances and give their personal feedback. “It is certainly true that the critics—those persons whom the dictionary describes as “skilled in judging the qualities or merits of some class of things, especially of literary or artistic work”—have long harbored murderous thoughts about the condition of our drama, but their ineffectuality