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Left-wing literary criticism of the 1930's offers insight into the present resistance to social theories of literature. During this period, Marxists were less concerned with inter- preting literature than with changing the world. Pure literary questions were chided in favor of politics & economics. The evangelical strain which ran through leftist periodicals, ie, The Liberator, the New Masses, & Partisan Review, saw the critic as a legislator. Literature was to serve a larger purpose: the Wc & the party. Eventually, the mounting demand for orthodoxy, coupled with the Spanish Civil War, the Moscow trials, & the Hitler-Stalin Pact, alienated many radical writers who either became anti-Stalinist leftists or severed ties with organizations completely. A new orthodoxy dominated literary theory for 3 decades after 1940. Critics, ie, Robert Penn Warren & T. S. Eliot, declared themselves opposed to the 'communists'; their criticism emphasized the aesthetic form, neglected history, & divorced literature from society. Social critics of this period came from the U's, were dependent upon these conservative institutions for livelihood, relied on academic audiences for influence, were expected to remain detached, & urged their readers to remain contemplative rather than active. The radical critics of the '30's had been journalists, writers, & editors dependent on the radical movement for their support. The new dogma of aesthetic autonomy became as problematic as the dogma of economic determinism. By rejecting a social perspective, the critic can only describe but not explain, & write chronicles but not history. L. Goldmann, before his death in 1970, set forth a theory of literature & a method of research. For him, literary work does not reside in details of character or style, but in the mental structures which bind it together. His research method begins with a chronological study of all works, examining the empirical facts, formulating an hypothesis about the ideological structure of the work, & modifying the hypothesis through the dialectical method. His theory helped contemporary radical critics to overcome the contradictions between the extreme materialism of radical critics & the extreme idealism of academic critics. A. Karmen.

What is Literature? According to Alexander Gottlieb Baumgarten, Literature is perfect sensate discourse. Based on this insight Baumgarten offers the first modern theory of literature. His uniquely holistic approach encompasses a methodology, epistemology, metaphysics, narratology, and ethics.

Cet article examine les origines de la sémiotique littéraire dans la théorie formaliste russe, se fondant sur deux cadres scientifiques majeurs pour définir la sémiotique de la littérature : son statut disciplinaire en lien avec la sémiotique culturelle, et le problème de la traduction et de la médiation sémiotiques. Ce travail porte notamment sur « Problèmes des études littéraires et linguistiques » de Jakobson et Tynjanov (1928), sur « De l'évolution littéraire » de Tynjanov (1927) et sur « Qu'est-ce que la poésie ? » de Jakobson (1933-1934). Il met en lumière deux conceptions de la sémiotique de la littérature, dont on peut faire remonter l'origine au formalisme russe : les sémiotiques littéraires et culturelles externe et interne. Ces deux approches complémentaires de sémiotique culturelle du discours littéraire sont formulées dans les termes de la médiation, des modèles de processus d'évolution historique et des structures intersémiotiques. Dans le cadre de ces deux méta-systèmes de sémiotique culturelle, les approches de la pragmatique sémiotique de Peirce et de la pragmatique sémiotique structuraliste forment un ensemble harmonieux.

The acceptance of prerevolutionary cultural values in the Soviet Union has been constrained by the development of official interpretation of Marxist-Leninist dogma and its application to the changing historical and political conditions and issues of the day. The evolution of the official Soviet approach to nineteenth-century Russian classical writers thus has been a process influenced by ideological and political considerations. At each stage of development of the Soviet state, Soviet officials devise the necessary literary policy and literary theory with which the values most pertinent to Soviet society at a given stage of its historical development can be extracted from a work of art created in a bourgeois society by an artist alien to the cause of the revolution.

Abstract: This article examines the figure of an outstanding Polish philologist — Maria Renata Mayenowa (1908–88) — attempting to interpret her life trajectory with the help of sociological tools. It is argued that Mayenowa's biography is significant in the context of the history of Polish, as well as Eastern European intellectual thought, for several reasons. First, it can be helpful in the reconstruction of the Polish involvement in the development of social theory in the twentieth century. Second, it provides insight into Polish-Russian, and more broadly, Polish-Eastern European intellectual relations in the twentieth century. Finally, the third reason is the non-obvious forms in which the history of Eastern European Jewish elites, and in particular the Jewish bourgeoisie, manifested itself in her biography.

It is Aristotle to whom we owe the first philosophical theory of poetic art fully extant from antiquity. He recognized the origin of art and poetry in man's capacity for theory and his pleasure in it, for he considered imitation (mímēsis) as the beginning and basis of cognition. He understood imitation not as a mere act of copying but as the realization and re-implementation of a single person's general disposition to act, which is to say his or her disposition to turn towards the world aiming to seek pleasure or to avoid pain. The poet's task is to represent such a way of acting, real or fictitious, in some medium in a certain way. An orderly representation of this kind starts from an (again, real or fictitious) person's decision to prefer or avoid something. It closely follows this agent's 'quality' (poiótēs), which is to say his or her character. Thereby, the poet can achieve a congruence of all parts of the entire action with one another and with the whole. This is what, in Aristotle's view, is the poet's task. At the time of the reception of Aristotle's "Poetics" around 1500 AD, the understanding of poetry was widely shaped by Horace and Cicero and hence had a strongly rhetorical character. For Horace, it is true, the poet ought to be an imitator, as well, even though an 'erudite' imitator. In Horace's view, however, his knowledge regards the general manners of man. Therefore, the poet, gifted as such with 'prophetic eye' and 'wisdom,' has the ability to express this knowledge in vivid and concrete terms (communia proprie dicere). This knowledge, which men, parents, brothers, politicians, judges, military commanders, etc. use to act was considered to be learnable according to the rules of rhetoric, although it is only by the poet's individual talent that it can become art. It was believed that what Aristotle had called the 'probable' could be equated with this skill based on acquired experience and genius. As a consequence of this reinterpretation, Aristotelian probability, which makes a certain man talk ...

This article examines the history of the transformation of the term "traditionalism" in literary criticism. The goal is to comprehend and theoretically substantiate the concept of "traditionalism" in the light of general questions of philosophy and the axiology of creativity; in particular, to investigate the invariant content of traditional creative consciousness (in the interconnection of its ontological and poetological aspects) and the prerequisites for its historical variability.

la teoría de la literatura se encuentra hoy ante el reto de definir un nuevo espacio para el estudio de la literatura en toda su plurivocidad. Por este motivo, se propone defender la apertura de la teoría de la literatura a las propuestas realizadas desde algunas posturas del giro político en la estética y la teoría. Nuestra hipótesis es que el diálogo entre estas disciplinas ayudaría a comprender y a responder-endiálogo a una cuestión que ha recorrido, desde la entrada en juego de las vanguardias históricas, la estética y la teoría literaria contemporáneas, a saber: la dialéctica entre autonomía literaria y la literatura en la comunidad. ; theory of literature is nowadays confronted with the challenge of defining a new space for studying literature in all its plurivocity. therefore, I propose to defend the opening of/from theory of literature toward the realized proposals from some propositions of the political turn in aesthetics and theory. My hypothesis is that the dialogue between these disciplines will help to understand and respond a recurring question within the dialogue, from the introduction of the historical avant-garde, aesthetics, and contemporary literary theory, to knowledge: dialectics between literary autonomy and literature in the community.

Limes Slavicus: A Project of the Department of History and Theory of Literature at Konstantin Preslavsky University of Shumen (Bulgaria)The text presents the three volumes of the Limes Slavicus series of the Faculty of Humanities at Konstantin Preslavsky University of Shumen. It gives an idea of the main concepts of the articles featured in the issues, while putting forth the question of what the "Slavic cultural concept" means as a notion, and discussing the problems facing research of the Slavic cultural community (the danger of ideologization, the "Slavification" of universal concepts). Limes Slavicus – Проект на Факултета за История и Теория на Литература в Шуменския Университет Константин Преславски (България)Текстът представя трите книги от поредицата "Limes Slavicus" на факултета по хуманитарни науки при Шуменския университет "Епископ Константин Преславски". Той дава представа за основните идеи на включените в изданията статии, но също така поставя въпроса за съдържанието на понятието "славянски културен концепт" и дискутира проблемите пред изследването на славянската културна общност (опасността от идеологизация, "славизирането" на универсални концепти). Limes Slavicus – Projekt Wydziału Historii i Teorii Literatury Uniwersytetu Konstantyna Presławskiego w Szumen (Bułgaria)Artykuł prezentuje trzy tomy serii "Limes Slavicus", wydawanej przez Wydział Humanistyczny Uniwersytetu Biskupa Konstantyna Presławskiego w Szumen. W artykule zaprezentowano podstawowe tezy tekstów włączonych do serii, ale także poruszono problem zawartości semantycznej tytułowego pojęcia "słowiańskich konceptów kulturowych", jak również kwestie wymagające ponownego zbadania ze strony słowiańskiej wspólnoty kulturowej: strach przed ideologizacją, slawizacja idei uniwersalnych.