Background
Hartman, Geoffrey H. was born on August 11, 1929 in Germany. Came to the United States, 1946, naturalized, 1946. Son of Albert and Agnes (Heumann) Hartman.
( Saving the Text cuts through Jacques Derrida's complex...)
Saving the Text cuts through Jacques Derrida's complex blend of philosophy, commentary, and elaborate wordplay to ascertain his place in the history of criticism and the significance of Glas as a literary event. Distinguished critic and scholar Geoffrey Hartman explores the usefulness of Derrida's style of close reading for English and American scholarship and establishes its relevance to the division that has arisen between European and Anglo-American critical approaches.
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(Examining a range of literature, philosophy, social criti...)
Examining a range of literature, philosophy, social criticism and popular culture, this text considers the meanings and uses of culture in contemporary society. It examines both the masterworks of European literature and the art and signs and symbols of popular media and daily life. The triumph of cultural studies - and its critiques of bourgeois Eurocentric tradition - is largely complete, the author writes. Against the political appropriation of culture, he posits, instead, a definition of culture as public conversation, intellectual and social debate among diverse communities. Against reactionary pressure to impose - or reinstate - a singular culture, or to seek in art or literature an affirmation of group identity, the author sketches new roles for the human imagination in a postmodern world.
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( Saving the Text cuts through Jacques Derrida's complex ...)
Saving the Text cuts through Jacques Derrida's complex blend of philosophy, commentary, and elaborate wordplay to ascertain his place in the history of criticism and the significance of Glas as a literary event. Distinguished critic and scholar Geoffrey Hartman explores the usefulness of Derrida's style of close reading for English and American scholarship and establishes its relevance to the division that has arisen between European and Anglo-American critical approaches.
http://www.amazon.com/gp/product/0801824524/?tag=2022091-20
( In this fascinating collection of essays, noted cultura...)
In this fascinating collection of essays, noted cultural critic Geoffrey Hartman raises the essential question of where we can find the real or authentic in today's world, and how this affects the way we can understand our human predicament. Hartman explores such issues as the fantasy of total and perfect information available on the Internet, the biographical excesses of tell-all daytime talk shows, and how we can understand what is "true" in biographical and testimonial writing. And, what, he asks, is the ethical point of all this personal testimony? What has it really taught us? Underlying the entire book is a question of how the Holocaust has shaped the possibilities for truth and for the writing of an authentic life story in today's world, and how we can approach the world in a meaningful way. Hartman produces a meditation on how an appreciation of the aesthetic qualities of art and writing may help us to answer these questions of meaning.
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( In this series of interlinked essays, Geoffrey Hartman ...)
In this series of interlinked essays, Geoffrey Hartman draws upon his pioneering interests in the collection of Holocaust survivor video testimony and his personal experience as a child of the Kindertransport to explore life and culture, meaning, and memory in the aftermath of the Holocaust. Taking up the anguished question of many survivors, “has the world learned anything?”, Hartman discusses issues of representation and ethics, the relations between first- and second-generation witnesses to the events, and how artists, scholars, and teachers have represented and transmitted these extreme experiences. How, he asks, do we convert our knowledge about the Holocaust into a thoughtful and potent understanding? Writing with his characteristic intelligence and grace, Hartman takes us from Bitburg to “Schindler’s List”, from Vichy to battles over public memory. He also evokes his experience as a refugee in England in vivid detail and explains how as a writer on literature and culture he came gradually to focus on the Holocaust.
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(Excerpt from The Unmediated Vision: An Interpretation of ...)
Excerpt from The Unmediated Vision: An Interpretation of Wordsworth, Hopkins, Rilke, and Valéry What is his approach? Whenever a critic of literature is discussed, this question tends to preface all the rest. More than any other it rings in the students ears the first weeks at graduate school. I could not understand it then, and still cannot. Approach? Either one has the truth about a poem or one does not. Approach? Just as a thousand misunderstandings will not alter in the least the possibility of a correct understanding, so a thousand varied approaches cannot negate uniqueness of meaning. Then I began to eat of the tree of knowledge, so that my eyes were multiplied, and where I had seen but a single text I now perceived the formidable legion of variant, if not discordant, interpretations. The philologist and the philosopher, the sociologist, the humanist, the various historians - of ideas, of literature, of politics, and of economics - the psychoanalyst and the empirical psychologist, the theologian and the lay Jewish and Christian critics, the more orthodox and the less orthodox - all had their approach, believed themselves in possession of the truth, demanded a hearing, quarreled suavely or with verbal spittle, and insisted that even when the text did not quite fit, their analysis clarified a truth dimly perceived in the original. Still more evidence came from the history of interpretation itself: inexplicable changes of taste, wilful decontextualizations, sublime absurdities, and finally that cheerful bird of prey the skeptic, with corpses enough, yet attacking both the living and the dead. Having tasted these multiple modes of interpretation, I fell in love with the art of interpreting and could not return to my original state. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(The fifteen essays in "The Unremarkable Wordsworth" draw ...)
The fifteen essays in "The Unremarkable Wordsworth" draw upon a wide range of contemporary theoretical approaches, from psychoanalysis to structuralism, from deconstruction to phenomenology.
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(Hartman's book is both a survey of the history of modern ...)
Hartman's book is both a survey of the history of modern literary criticism and a strategic intervention. First he presents an account of the culture of criticism since the late 19th century. He then widens the focus to provide a picture of the critical essay from 1700 to the 1990s in order to show that a major change in style took place after 1950. Two chapters focus on F.R. Leavis and Paul de Man, central - and controversial - figures in academic criticism. Hartman attends to major developments on the continent and in Anglo-American circles that have disrupted the calm of what he calls the friendship or conversational style. On the one hand, critics and thinkers have pursued strange gods in order to enrich and sharpen their critical style. This change Hartman welcomes. On the other hand, along with a renewed interest in politics and historical speculation, a didactic and moralistic tone has again entered the scene. Hartman rejects this new moralism. The author defends the reading of the text of criticism as carefully as the text of literature. He argues for a broader conception of critical style, one that would support the open and conversational voice of the public critic as well as the inventive and innovative practice of the technical critic. Hartman sets before out an ideal of literary criticism that can acknowledge theory yet does not shrink from a sustained, text-centered response.
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educator language professional
Hartman, Geoffrey H. was born on August 11, 1929 in Germany. Came to the United States, 1946, naturalized, 1946. Son of Albert and Agnes (Heumann) Hartman.
Bachelor, Queens College, New York City, 1949. Doctor of Humane Letters (honorary), Queens College, New York City, 1990. Doctor of Philosophy, Yale University, 1953.
Doctor of Humane Letters (honorary), Hebrew Union College/Institute Religion, 2003.
Member faculty Yale University, 1955-1962. Associate professor English University Iowa, Iowa City, 1962-1964, professor English, 1964-1965, Cornell University, Ithaca, New York, 1965-1967. Professor English and comparative literature Yale University, since 1967, Karl Young Professor, 1974-1994, Sterling professor, 1994-1997, professor emeritus, since 1997.
Distinguished visiting scholar George Washington University, 1998-2000. Distinguished professor New School University, 2001-2003. Visiting lecturer and/or professor University Chicago, University Washington, Hebrew University, Jerusalem, University Zurich, Switzerland, Princeton University, New York University, Tel Aviv University, University Konstanz, Germany.
Clark lecturer Trinity College, Cambridge, 1983. Tamblyn lecturer University Western Ontario, 1983. Wellek lecturer University California, Irvine, 1992, Tanner lecturer University Utah, 1999.
Director School Theory and Criticism, Dartmouth College, 1982-1987, also senior fellow. Haskins lecturer American Council of Learned Societies, 2000.
( In this series of interlinked essays, Geoffrey Hartman ...)
( In this fascinating collection of essays, noted cultura...)
( Originally published in 1980, this now classic work of ...)
( Saving the Text cuts through Jacques Derrida's complex...)
( Saving the Text cuts through Jacques Derrida's complex ...)
(Excerpt from The Unmediated Vision: An Interpretation of ...)
(The fifteen essays in "The Unremarkable Wordsworth" draw ...)
(Examining a range of literature, philosophy, social criti...)
(***Comes with Super Fast Shipping! Ships FREE with Amazon...)
(Hartman's book is both a survey of the history of modern ...)
(The dust jacket has minor chips and closed tears to the e...)
(Collection of critical essays on Gerard Manley Hopkins' p...)
( The Unremarkable Wordsworth was first published in 1987...)
Trustee English Institute, 1978-1985. Revson project director Video Archive Holocaust Testimonies, Yale, since 1982. Served with Army of the United States, 1953-1955.
Member Modern Language Association (executive council 1977-1980), American Academy Arts and Sciences.
Married Renee Gross, October 21, 1956. Children: David, Elizabeth.