The Use and Abuse of Literature - Marjorie Garber [151]
35. Ibid., 4.
36. Ibid., 5.
37. Ibid., 7.
38. Ibid., 8.
39. Ibid.
40. Ibid., 9.
41. Ibid.
42. Ibid., 10.
43. Ibid., 11.
44. Ibid., 16.
45. Ibid.
46. Ibid., 18.
47. Ibid., 20.
48. Ibid., 21.
49. Ibid., 25.
50. Ibid., 24.
51. Ibid., 25.
52. Ibid.
53. Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe (Baltimore and London: Johns Hopkins University Press, 1973), ix.
54. Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973), 452, 448–49.
55. Clifford Geertz, “Blurred Genres: The Reconfiguration of Social Thought,” in Local Knowledge: Further Essays in Interpretive Anthropology (New York: 1983), 30.
56. Steven Mullaney, The Place of the Stage: License, Play, and Power in Renaissance England (Chicago and London: University of Chicago Press, 1988), x.
57. Stephen Greenblatt, “Invisible Bullets,” in Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England (Berkeley: University of California Press, 1988), 65.
58. J. Hillis Miller, “Narrative,” in Frank Lentricchia and Thomas McLaughlin, eds., Critical Terms for Literary Study, 2nd ed. (Chicago and London: University of Chicago Press, 1995), 69.
59. Joyce Appleby, Lynn Hunt, and Margaret Jacob, Telling the Truth About History (New York and London: W. W. Norton, 1994), 231.
60. Ibid., 231–36.
61. Ibid., 232–33, quoting Elizabeth Deeds Ermarth, Sequel to History: Postmodernism and the Crisis of Representational Time (Princeton, N.J.: Princeton University Press, 1992), 212.
62. Literary critic Steven Mullaney offered in his contribution to this volume a view of the place of literary study that conveyed a sharp difference from where it might have been presumed to be in the 1970s and 1980s: “The literary is thus conceived neither as a separate and separable aesthetic realm nor as a mere product of culture—a reflection of ideas and ideologies produced elsewhere—but as one realm among many for the negotiation and production of social meaning, of historical subjects, and of the systems of power that at once enable and constrain those subjects.” Steven Mullaney, “Discursive Forums, Cultural Practices: History and Anthropology in Literary Study,” in The Historic Turn in the Human Sciences, ed. Terence J. McDonald (Ann Arbor: University of Michigan Press, 1996), 163.
63. McDonald, The Historic Turn in the Human Sciences, 1.
64. Roger Kimball, Tenured Radicals: How Politics Has Corrupted Our Higher Education (New York: Harper and Row, 1990), xi.
TWO The Pleasures of the Canon
1. The Great Ideas: The University of Chicago and the Ideal of Liberal Education 5, “Spreading the Gospel,” University of Chicago Library Exhibition Catalogue.
2. For this example and much more in this vein, see Dwight Macdonald, “The Book-of-the-Millennium Club,” The New Yorker, November 29, 1952. The Complete Greek Tragedies (University of Chicago Press) were edited by David Grene and Richmond Lattimore and included translations by Grene and Lattimore, as well as Robert Fitzgerald, William Arrowsmith, John Frederick Nims, and others.
3. Macdonald, “The Book-of-the-Millennium Club.”
4. Robert M. Hutchins, preface to The Great Conversation: The Substance of a Liberal Education (Chicago: Encyclopaedia Britannica, 1952), xxv.
5. Macdonald, “The Book-of-the-Millennium Club.”
6. Ibid.
7. Berlin took a saying from the Greek poet Archilochus (“The fox knows many things, but the hedgehog knows one big thing”) and applied it to intellectual and cultural life, dividing writers and thinkers into hedgehogs, who view the world through a single defining idea (Plato, Lucretius, Dane, Pascal, Hegel, Dostoyevsky, Nietzsche, Ibsen, Proust), and foxes, who draw on a wide variety of experiences (Herodotus, Aristotle, Erasmus, Shakespeare, Montaigne, Molière, Goethe, Pushkin, Balzac, Joyce). Iaisah Berlin, The Hedgehog and the Fox: An Essay on Tolstoy’s View of History (London: Weidenfeld & Nicolson, 1953).
8. Edward Albee, in William Flanagan, “The Art of Theater No. 4: Edward Albee,” The Paris