VICTORIAN CRITICS AND METACRITICS: ARNOLD, PATER, RUSKIN AND THE INDEPENDENCE OF LITERARY CRITICISM
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Tarih
2014
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Namık Kemal Üniversitesi, Fen-Edebiyat Fakültesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Viktorya dönemi eleştirmenleri, İngiliz eleştiri kuramının 20. yüzyıldaki bilimsel ve yöntembilimsel oluşumundan önce, kuramın gelişimine yönelik son büyük adımı atmışlardır. Viktorya dönemi eleştirisi ayrıca çağdaş edebiyat kuramı ve eleştirisine geçişi ve bu geçişin modern kuram ve eleştirisinde son buluşunu temsil eder. 19. yüzyılda bir dönem boyunca farklı sanatsal ve yazınsal akımların bir arada bulunması eleştirinin yazınsal süreçten ayrılmasına yol açmıştır. Eleştirinin yazınsal uygulamalardan ayrılması yazınsal türlerin çeşitliliğinden de kaynaklanmaktadır. Fakat öncelikle eleştirinin yazından bağımsızlığı, yaratıcı ve eleştirel yazının eleştirmenlerin bilimle yazınsal eleştiriyi birlikte özümsedikleri felsefi düşüncelerdeki, toplumsal kuramlardaki ve bilimsel ilerlemelerdeki çeşitlilik ve karmaşıklığın etkisi altında kalmasından doğar. Eleştirinin yazından bağımsızlığa doğru ilerleyişi türsel olarak oluşumuyla ve kendi içindeki çeşitlilikle bağlantılıdır. Viktorya dönemi eleştirisini sınıflandırmak neredeyse olanaksız olsa da, yaşamöyküsel, toplumbilimsel, tarihsel, olgucu, gerçekçi, doğalcı, izlenimci, güzelduyusal, törel, insancıl ve benzer eleştiri kuramlarını da kapsayan romantik kuram, etkisini hala sürdürmektedir. Viktorya dönemi eleştirel sistemlerdeki farklılık Walter Pater, Matthew Arnold ve Henry James gibi yazar-eleştirmen ve John Ruskin gibi usta eleştirmenlere ait farklı eleştirel düşüncelerin varlığının bir sonucudur. Bu eleştirmenler, meta eleştirmenlerinin eleştiri üzerine eleştirel düşünceler üretmesi gibi, sanata ve/veya yazına odaklanırlar. Bu yazının amacı, onların eleştirel konumlarının önemini ve Viktorya dönemi eleştirisinin durumunu ortaya koyan düşünceleri incelemektir.
The Victorians provide the last major step in the advancement of English critical theory before its twentieth century establishment as a scientific and methodological discourse. It is also true to assume that Victorian criticism represents the transition to or culminates in modern literary theory and criticism. In the nineteenth century, the co-existence of different artistic and literary trends during one period leads to the separation of criticism from literary process. The separation of criticism from literary practice is also a result of the diversity of literary forms. But primarily the independence of criticism from literature is acquired by creative and critical writing confronting and falling under the influence of diversity and complexity of philosophical thought, social theories and scientific advances, where critics attempt to assimilate science to literary criticism. The route of criticism towards independence from literature means its own diversification and organization as a typology: although it is almost impossible to categorize Victorian criticism, it is Romantic theory still being influential, to which biographical, sociological, historical, positivist, realistic, naturalistic, impressionistic, aesthetic, moral, humanistic, and other types of criticism are added. The diversification of the critical systems in the Victorian Age is the result of the massive presence of different critical voices belonging to both professional critics, like John Ruskin, and writer-critics, like Walter Pater, Matthew Arnold and Henry James. Among others, they are critics focusing on art and/or literature as well as metacritics providing critical commentary on criticism. To reveal the significance of their critical status and disclose their ideas showing the condition of Victorian criticism represent the aim of the present paper.
The Victorians provide the last major step in the advancement of English critical theory before its twentieth century establishment as a scientific and methodological discourse. It is also true to assume that Victorian criticism represents the transition to or culminates in modern literary theory and criticism. In the nineteenth century, the co-existence of different artistic and literary trends during one period leads to the separation of criticism from literary process. The separation of criticism from literary practice is also a result of the diversity of literary forms. But primarily the independence of criticism from literature is acquired by creative and critical writing confronting and falling under the influence of diversity and complexity of philosophical thought, social theories and scientific advances, where critics attempt to assimilate science to literary criticism. The route of criticism towards independence from literature means its own diversification and organization as a typology: although it is almost impossible to categorize Victorian criticism, it is Romantic theory still being influential, to which biographical, sociological, historical, positivist, realistic, naturalistic, impressionistic, aesthetic, moral, humanistic, and other types of criticism are added. The diversification of the critical systems in the Victorian Age is the result of the massive presence of different critical voices belonging to both professional critics, like John Ruskin, and writer-critics, like Walter Pater, Matthew Arnold and Henry James. Among others, they are critics focusing on art and/or literature as well as metacritics providing critical commentary on criticism. To reveal the significance of their critical status and disclose their ideas showing the condition of Victorian criticism represent the aim of the present paper.
Açıklama
Anahtar Kelimeler
Viktorya Dönemi, Yazın Yaklaşımları, Yazınsal Eleştiri, Yazın Kuramı, Yazınsal Tarih, Metaeleştiri, Eleştirmen, Yazar- Eleştirmen, Victorian Age, Approaches to Literature, Literary Criticism, Literary Theory, Literary History, Metacriticism, Critic, Metacritic, Writer-Critic
Kaynak
HUMANITAS - Uluslararası Sosyal Bilimler Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
2
Sayı
3
