A Touch More Rare : : Harry Berger, Jr., and the Arts of Interpretation / / ed. by Nina Levine, David Lee Miller.

• Superior document: Title is part of eBook package: De Gruyter Fordham University Press Complete eBook-Package Pre-2014
• MitwirkendeR: Anderson, Judith H.,; Barkan, Leonard,; Berger, Harry,; Cartelli, Thomas,; Collins, Bradford R.,; Dolven, Jeff,; Eggert, Katherine,; Erickson, Peter,; Farness, Jay,; Frank, Jill,; Gimelli Martin, Catherine,; Greenburg, Bradley,; Greene, Roland,; Gross, Kenneth,; Grossman, Marshall,; Hammill, Graham,; Leach, Eleanor,; Lee Miller, David,; Levine, Nina,; Oram, William A.,; Silberman, Lauren,; Wofford, Susanne L.,
• HerausgeberIn: Levine, Nina,; Miller, David Lee,
• Place / Publishing House: New York, NY : : Fordham University Press, , [2009]; ©2009
• Year of Publication: 2009
• Language: English
• Physical Description: 1 online resource (336 p.)
• Other title: Frontmatter --; Contents --; Illustrations --; Acknowledgments --; Introduction --; Part One. Drama --; Chapter 1. Enlisting in Harry Berger’s Imaginary Forces --; Chapter 2. Harry Berger and Self-Hatred --; Chapter 3. Complicity and Catharsis: The Immature Criticism of Harry Berger --; Chapter 4. Sack Drama --; Chapter 5. Redistributing Complicities in an Age of Digital Production: Michael Radford’s Film Version of The Merchant of Venice --; Part Two. Harry’s Bower of Bliss --; Chapter 6. Acrasian Fantasies: Outsides, Insides, Upsides, Downsides in the Bower of Bliss --; Chapter 7. Harry Berger’s Genius: Porting Pleasure in the Bower of Bliss --; Chapter 8. Taking Another Peek --; Part Three. Critical and Cultural Theory --; Chapter 9. Close Reading Transformed: The New Criticism and the World --; Chapter 10. Thinking Culture, and Beyond --; Chapter 11. Bergerama: New Critical and Poststructural Theory in the Work of Harry Berger, Jr --; Part Four. Visual Arts --; Chapter 12. The Power of Prodigality in the Work of Derek Walcott and Harry Berger --; Chapter 13. Harry Berger’s Sprezzatura and the Poses of Cicero’s de Oratore --; Chapter 14. What Art Historians Can Learn from Harry --; Part Five. Reading Plato --; Chapter 15. Platonic Irony in Berger --; Chapter 16. Situating Harry’s Plato --; Part Six. Intellectual Community --; Chapter 17. The Seminal and the Inimitable: An Adventure in Harryland --; Chapter 18. How Harry Taught --; Chapter 19. Harry Berger’s Intellectual Community --; The Last Word ‘‘All Your Writers Do Consent That Ipse Is He’’ --; Chapter 20. Backlooping: Life in a Revisionary Enclave --; Notes --; Harry Berger,Jr.: Bio-bibliography --; Contributors --; Select Publications Index --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780823237296; 9783111189604; 9783110707298
• DOI: 10.1515/9780823237296?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Nina Levine, David Lee Miller.

Harry Berger, Jr., has long been one of our most revered and respected literary and cultural critics. Since the late nineties, a stream of remarkable and innovative publications have shown how very broad his interests are, moving from Shakespeare to baroque painting, to Plato, to theories of early culture.In this volume a distinguished group of scholars gathers to celebrate the work of Harry Berger, Jr. To "celebrate," in Berger's words, is "to visit something either in great numbers or else frequently-to go away and come back, go away and come back, go away and come back. Celebrating is what you do the second or third time around, but not the first. To celebrate is to revisit. To revisit is to revise. Celebration is the eureka of revision." Not only former students but distinguished colleagues and scholars come together in these pages to discover Berger's eurekas-to revisit the rigor and originality of his criticism, and occasionally to revise its conclusions, all through the joy of strenuous engagement. Nineteen essays on Berger's Shakespeare, his Spenser, his Plato, and his Rembrandt, on his theories of interpretation and cultural change and on the ethos of his critical and pedagogical styles, open new approaches to the astonishing ongoing body of work authored by Berger. An introduction by the editors and an afterword by Berger himself place this festival of interpretation in the context of Berger's intellectual development and the reception of his work from the mid-twentieth century into the first decade of the twenty-first.