By Nina Levine, David Lee Miller
Harry Berger, Jr., has lengthy been one among our so much respected and revered literary and cultural critics. because the overdue nineties, a circulate of outstanding and cutting edge courses have proven how very huge his pursuits are, relocating from Shakespeare to baroque portray, to Plato, to theories of early culture.In this quantity a individual team of students gathers to have fun the paintings of Harry Berger, Jr. To celebrate,in Berger's phrases, is to go to anything both in nice numbers otherwise frequently-to depart and are available again, leave and are available again, leave and are available again. Celebrating is what you do the second one or 3rd time round, yet no longer the 1st. To rejoice is to revisit. To revisit is to revise. party is the eureka of revision.Not simply former scholars yet uncommon colleagues and students come jointly in those pages to find Berger's eurekas-to revisit the rigor and originality of his feedback, and infrequently to revise its conclusions, throughout the enjoyment of strenuous engagement. Nineteen essays on Berger's Shakespeare, his Spenser, his Plato, and his Rembrandt, on his theories of interpretation and cultural switch and at the ethos of his severe and pedagogical types, open new methods to the stunning ongoing physique of labor authored via Berger. An creation via the editors and an afterword by way of Berger himself position this competition of interpretation within the context of Berger's highbrow improvement and the reception of his paintings from the mid-twentieth century into the 1st decade of the twenty-first.
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Additional resources for A Touch More Rare: Harry Berger, Jr., and the Arts of Interpretation
Its conﬁdence goes along with an immense sense of play and readiness to be questioned. The criticism is pragmatic in its local attentions to particular works, scenes, and characters, yet driven by preoccupations whose sources are often mysterious. ’’ I’ve in fact always wished he’d take time to write on Kafka, but then I’d also like to read Harry Berger on Dante, Cervantes, Mary Shelley, and Lewis Carroll. I thought of the title of this talk before I knew what I meant to talk about. There are two senses of ‘‘self-hatred’’ that, as I’ve considered things, now seem most relevant.
It is a kind of work, a kind of taking responsibility, a kind of generosity—and also a refusal of mere authority. It is a project for growing up that tries to avoid putting away the wrong 30 Harry Berger and Self-Hatred childish things—and we are wont in our pretenses of maturity, as John Hollander once said, to put away just the wrong childish things. 21 Something like this seems necessary, at least if we are to see how a human speaker can, at certain moments, take a stand within an ethical discourse, how a person can say ‘‘I am guilty,’’ or ‘‘I have been victimized,’’ or ‘‘take this gift,’’ or ‘‘I honor you,’’ without such utterances being inevitably subject to suspicion.
It happens to be the ﬁrst article I ever published, called ‘‘The Theatrical Consistency of Richard II,’’ and I cite it less to ﬂog a long-buried triﬂe of my own than to summon up a sense of one particular corner within Shakespeare studies, rather a forgotten one in some respects, in the 1970s and 1980s—for which I’m afraid that I must once again wax autobiographical. In brief: my whole professional life has been characterized by various multiple personalities. The particular one that afﬂicted me the earliest and the longest was between doing literary scholarship and doing theater.
A Touch More Rare: Harry Berger, Jr., and the Arts of Interpretation by Nina Levine, David Lee Miller