Harold Bloom : un "superhombre" de la crítica americana
Harold Bloom has created a new way of making criticism that excells the comparative method that was emerging after Harry Levin. To know which writer went with each text and to look for the "Vlsionary company" could be the emblems of a critic who reconsiders the history of literature with v...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 1992 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | español |
| OAI Identifier: | oai:ebuah.uah.es:10017/4821 |
| Acceso en línea: | http://hdl.handle.net/10017/4821 |
| Access Level: | acceso abierto |
| Palabra clave: | Historia de América America-History Filología Philology |
| Sumario: | Harold Bloom has created a new way of making criticism that excells the comparative method that was emerging after Harry Levin. To know which writer went with each text and to look for the "Vlsionary company" could be the emblems of a critic who reconsiders the history of literature with violence and makes of "synthesis" and "antithesis" two valid mechanisms for his discourse. Freud is present in every page and he considers poetry, as well as reading, as a psychoanalysis. Bloom moves away from Northrop Frye's puritanism by preaching erotism and text and penetrates, through reading, into the sexual life of the reader. He creates a criticism in search of the "Divinity", he looks for the mysticism of language and identifies poetry with "the sublime", he believes the critic to be on the same level of complicity as the creator, finally, he links psychology and creativity and despises any reference to socíety. All in Bloom is an "analytic romanticism". |
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