A Quote by John Kenneth Galbraith
Much literary criticism comes from people for whom extreme specialization is a cover for either grave cerebral inadequacy or terminal laziness, the latter being a much cherished aspect of academic freedom.
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Much literary criticism comes from people for whom extreme specialization is a cover either for grave cerebral inadequacy or terminal laziness, the latter being a much-cherished aspect of academic freedom.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
There is far too much literary criticism of the wrong kind. That is why I never could have survived as an academic.
Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
I don't believe in pulling punches or being judicious, as the standard in literary criticism or academic musicology.
First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.
There's actually a wonderful quote from Stanley Fish, who is sometimes very polemical and with whom I don't always agree. He writes, "Freedom of speech is not an academic value. Accuracy of speech is an academic value; completeness of speech is an academic value; relevance of speech is an academic value. Each of these is directly related to the goal of academic inquiry: getting a matter of fact right."
The kind of acting that's wholly literary or cerebral is wrong. It's useless for me to have actors so much in their heads that they can't be organic.
The most important aspect of freedom of speech is freedom to learn. All education is a continuous dialogue - questions and answers that pursue every problem on the horizon. That is the essence of academic freedom.
A grave aspect to a grave character is of much more consequence than the world is generally aware of; a barber may make you laugh, but a surgeon ought rather to make you cry.
The fact that modern physics, the manifestation of an extreme specialization of the rational mind, is now making contact with mysticism, the essence of religion and manifestation of an extreme specialization of the intuitive mind, shows very beautifully the unity and complementary nature of the rational and intuitive modes of consciousness; of the yang and the yin.
In Britain the power of authority was weakened. There was much more individual freedom and there was great academic freedom.
My experience of singing, as an actor, was that there's a different creative feeling of freedom. The acting thing is a bit more defined and cerebral. I can see why people would want to cross over. If you have so much freedom on stage then perhaps you want to be confined a bit, and vice versa.
I never realized how much I cherished having creative freedom.
My friends are much more dangerous than my enemies. These latter - with infinite subtlety - spin webs to keep me out of places where I hate to go, - and tell stories of me to people whom it would be vanity and vexation to meet; - and they help me so much by their unconscious aid that I almost love them.
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