Cultura

Plato
Aristteles tica a nicmaco(conexo entre a virtude moral e a educao das emoes,
segundo Roger Scruton); Potica (pela teoria da tragdia como Catarsis, segundo Roger
Scruton); Potica, Retrica.
Roma - ?
Idade Mdia - ?
Samuel Johnson e outros crticos
Edmund Burke- Reflections on the Revolution in France (Afirmao da common culture
como o corao da ordem poltica e social)
Samuel Taylor Colerdige Biographia Literaria
Emile Durkheim As formas elementares da Vida Religiosa
Eliot Selected Essays; After Strange Gods; On the use of Poetry and the use of Criticism;
Notes Towards the definition of culture
Sigmund Freud Totem e Tabu; Luto e Melancolia; Alm do Princpio do prazer, Introductory
Lectures
Hegel Fenomenologia do Esprito
Ludwig Feuerbach A essncia do Cristianismo
J.G. Fichte- Addresses to the German nation
J.G. Herder - Outlines of a philosophy of the history of man (Roger Scruton: cultura como
fora influenciadora de um povo em sua histria)
Wilhem von Humbold Humanist without portfolio
Carl G. Jung Os arqutipos e o inconsciente coletivo
Kant- A Crtica do Julgamento; Uma resposta pergunta: O que iluminismo?; Paz Perptua.
Kirkegaard E/Ou; Concluding Unscientific Postscript.
F.R. Leavis : The GreatTradition; New Bearings in English poetry. The Common Pursuit;Nor Shall
My Sword
Claude Levi-Strauss Totemismo
Confcio- Os Analectos
Karl Marx- A Ideologia Alem (R.S.:ideologia: cultura caricaturada como resultado secundrio
dos meios de produo capitalista, parte da mscara do poder burgus); Manuscritos de
1844; O Capital Vol. 1
Friedrich Nietzche A Genealogia da moral; o Crepsculo dos dolos. O Caso de Wagner; O
nascimento da Tragdia; Wagner em Bayreuth
Friedrich Schiller Cartas sobre a educao esttica do Homem; Poesia ingnua e sentimental
George Steiner- Real Presences
Arnold Van Gennep Os ritos de passagem; Religion, moeurs et legends(R.S.: destaquePara o
ensaio sobre totemismo)
Max Weber: Economia e Sociedade
Alain de Besanon A falsificao do bem
Benedetto Croce Esttica, como cincia da expresso e lingustica geral

Discusso Cultural / Ensino Superior
Matthew Arnold Culture and Anarchy
John Henry Newman The Idea of University
Escola de Frankfurt/Marxismo Cultural Diversos Autores
T. S. Elliot Notes toward a definition of culture
George Steiner In Bluebeards castle: some notes toward a redefinition of culture
C. P. Snow The Two Cultures
F. R. Leavis Two Cultures? The Significance of C. P. Snow
Roger Kimball a respeito: http://www.newcriterion.com/articles.cfm/-The-Two-Cultures--
today-4882
Lionel Trilling The Liberal Imagination / Outros livros de ensaios
Saul Bellow Diferena entre Intelectuais e escritores (Seria este o link:
http://www.theparisreview.org/interviews/4405/the-art-of-fiction-no-37-saul-bellow ?)

Discusso moderna sobre Cultura e Cincia
Allan Bloom Closing of the American Mind
Roger Kimball Tenured Radicals
Gertrude Himmelfarb-On Looking into the Abyss
Paul R. Gross e Norman Levitt- Higher Superstition the academic left and its quarrels with
science
Alan Cromer Uncommon Sense:The heretical nature of science
Paul Hollander The attack on science and reason (Artigo)

Ps-Modernismo e desconstrucionismo contra a cincia:
Thomas Kuhn Teoria dos Paradigmas
Michel Foucault Arqueologia do saber
Paul Feyerabend Against Method anarquismo metodolgico

Crticas Fenomenolgicas, e outras diversas, cincia
Edmund Husserl Crise das Cincias Europias
Theodor M. Porter Trust In Numbers: The Pursuit of Objectivity in Science and Public Life
Harry Collins- Changing Order /Artificial Experts:Social Knowledge and Intelligent Machines

Mtodo Cientfico
Aristteles Fsica
Escolsticos-?
Pensadores mgicos anti-escolsticos - ?
Descartes Mtodo
Bacon
Galileu
Giordano Bruno
Newton
Leibniz
Kant
Fsica Newtoniana
Relativismo de Einstein
Karl Popper
Teoria Quntica

Crtica Literria

EMENTA UNIVERSITRIA SOBRE O TEMA, ENCONTRADA NA INTERNET:

Classical and medieval criticism

Literary criticism has probably existed for as long as literature. In the 4th century BC Aristotle
wrote the Poetics, a typology and description of literary forms with many specific criticisms of
contemporary works of art. Poetics developed for the first time the concepts of mimesis and
catharsis, which are still crucial in literary study. Plato's attacks on poetry as imitative,
secondary, and false were formative as well. Around the same time, Bharata Muni, in his Natya
Shastra, wrote literary criticism on ancient Indian literature and Sanskrit drama.
Later classical and medieval criticism often focused on religious texts, and the several long
religious traditions of hermeneutics and textual exegesis have had a profound influence on the
study of secular texts. This was particularly the case for the literary traditions of the three
Abrahamic religions: Jewish literature, Christian literature and Islamic literature.
Literary criticism was also employed in other forms of medieval Arabic literature and Arabic
poetry from the 9th century, notably by Al-Jahiz in his al-Bayan wa-'l-tabyin and al-Hayawan,
and by Abdullah ibn al-Mu'tazz in his Kitab al-Badi.[2]

Key texts
Plato: Ion, Republic, Cratylus
Aristotle: Poetics, Rhetoric
Horace: Art of Poetry
Longinus: On the Sublime
Plotinus: On the Intellectual Beauties
St. Augustine: On Christian Doctrine
Boethius: The Consolation of Philosophy
Aquinas: The Nature and Domain of Sacred Doctrine
Dante: The Banquet, Letter to Can Grande Della Scala
Boccaccio: Life of Dante, Genealogy of the Gentile Gods
Christine de Pizan: The Book of the City of Ladies
Bharata Muni: Natya Shastra
Al-Jahiz: al-Bayan wa-'l-tabyin, al-Hayawan
Abdullah ibn al-Mu'tazz: Kitab al-Badi
Rajashekhara: Inquiry into Literature
Valmiki: The Invention of Poetry (from the Ramayana)
Anandavardhana: Light on Suggestion
Cao Pi: A Discourse on Literature
Lu Ji: Rhymeprose on Literature
Liu Xie: The Literary Mind
Wang Changling: A Discussion of Literature and Meaning
Sikong Tu: The Twenty-Four Classes of Poetry

Renaissance criticism

The literary criticism of the Renaissance developed classical ideas of unity of form and content
into literary neoclassicism, proclaiming literature as central to culture, entrusting the poet and
the author with preservation of a long literary tradition. The birth of Renaissance criticism was
in 1498, with the recovery of classic texts, most notably, Giorgio Valla's Latin translation of
Aristotle's Poetics. The work of Aristotle, especially Poetics, was the most important influence
upon literary criticism until the late eighteenth century. Lodovico Castelvetro was one of the
most influential Renaissance critics who wrote commentaries on Aristotle's Poetics in 1570.

Key texts
Lodovico Castelvetro: The Poetics of Aristotle Translated and Explained
Philip Sidney: An Apology for Poetry
Jacopo Mazzoni: On the Defense of the Comedy of Dante
Torquato Tasso: Discourses on the Heroic Poem
Francis Bacon: The Advancement of Learning
Henry Reynolds: Mythomystes
John Mandaville: Composed in the mid-14th century--most probably by a french physician

Enlightenment criticism

Thomas Hobbes: Answer to Davenant's preface to Gondibert
Pierre Corneille: Of the Three Unities of Action, Time, and Place
John Dryden: An Essay of Dramatic Poesy
Nicolas Boileau-Despraux: The Art of Poetry
John Locke: An Essay Concerning Human Understanding
John Dennis: The Advancement and Reformation of Modern Poetry
Alexander Pope: An Essay on Criticism
Joseph Addison: On the Pleasures of the Imagination (Spectator essays)
Giambattista Vico: The New Science
Edmund Burke: A Philosophical Inquiry into the Origins of Our Ideas of the Sublime and the
Beautiful
David Hume: Of the Standard of Taste
Samuel Johnson: On Fiction, Rasselas, Preface to Shakespeare
Edward Young: Conjectures on Original Composition
Gotthold Ephraim Lessing: Laocon
Joshua Reynolds: Discourses on Art
Richard "Conversation" Sharp Letters & Essays in Prose & Verse
James Usher :Clio: or a Discourse on Taste (1767) [3]
Denis Diderot: The Paradox of Acting
Immanuel Kant: Critique of Judgment
Mary Wollstonecraft: A Vindication of the Rights of Woman
William Blake: The Marriage of Heaven or Hell, Letter to Thomas Butts, Annotations to
Reynolds' Discourses, A Descriptive Catalogue, A Vision of the Last Judgment, On Homer's
Poetry
Friedrich Schiller: Letters on the Aesthetic Education of Man
Friedrich Schlegel: Critical Fragments, Athenaeum Fragments, On Incomprehensibility

19th-century criticism

The British Romantic movement of the early nineteenth century introduced new aesthetic
ideas to literary study, including the idea that the object of literature need not always be
beautiful, noble, or perfect, but that literature itself could elevate a common subject to the
level of the sublime. German Romanticism, which followed closely after the late development
of German classicism, emphasized an aesthetic of fragmentation that can appear startlingly
modern to the reader of English literature, and valued Witz that is, "wit" or "humor" of a
certain sort more highly than the serious Anglophone Romanticism. The late nineteenth
century brought renown to authors known more for critical writing than for their own literary
work, such as Matthew Arnold.

William Wordsworth: Preface to the Second Edition of Lyrical Ballads
Anne Louise Germaine de Stal: Literature in its Relation to Social Institutions
Friedrich Wilhelm Joseph Schelling: On the Relation of the Plastic Arts to Nature
Samuel Taylor Coleridge: Shakespeare's Judgment Equal to His Genius, On the Principles of
Genial Criticism, The Statesman's Manual, Biographia Literaria
Wilhelm von Humboldt: Collected Works
John Keats: letters to Benjamin Bailey, George & Thomas Keats, John Taylor, and Richard
Woodhouse
Arthur Schopenhauer: The World as Will and Idea
Thomas Love Peacock: The Four Ages of Poetry
Percy Bysshe Shelley: A Defense of Poetry
Johann Wolfgang von Goethe: Conversations with Eckermann, Maxim No.279
Georg Wilhelm Friedrich Hegel: The Philosophy of Fine Art
Thomas Carlyle: Symbols
John Stuart Mill: What is Poetry?
Ralph Waldo Emerson: The Poet
Charles Augustin Sainte-Beuve: What Is a Classic?
Edgar Allan Poe: The Poetic Principle
Matthew Arnold: Preface to the 1853 Edition of Poems, The Function of Criticism at the
Present Time, The Study of Poetry
Hippolyte Taine: History of English Literature
Charles Baudelaire: The Salon of 1859
Karl Marx: The German Ideology, A Contribution of the Critique of Political Economy
Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music, Truth and Falsity in an
Ultramoral Sense
Walter Pater: Studies in the History of the Renaissance
mile Zola: The Experimental Novel
Anatole France: The Adventures of the Soul
Oscar Wilde: The Decay of Lying
Stphane Mallarm: The Evolution of Literature, The Book: A Spiritual Mystery, Mystery in
Literature
Leo Tolstoy: What is Art?

The New Criticism
However important all of these aesthetic movements were as antecedents, current ideas
about literary criticism derive almost entirely from the new direction taken in the early
twentieth century. Early in the century the school of criticism known as Russian Formalism,
and slightly later the New Criticism in Britain and in the United States, came to dominate the
study and discussion of literature, in the English-speaking world. Both schools emphasized the
close reading of texts, elevating it far above generalizing discussion and speculation about
either authorial intention (to say nothing of the author's psychology or biography, which
became almost taboo subjects) or reader response. This emphasis on form and precise
attention to "the words themselves" has persisted, after the decline of these critical doctrines
themselves.
Theory
In 1957 Northrop Frye published the influential Anatomy of Criticism. In his works Frye noted
that some critics tend to embrace an ideology, and to judge literary pieces on the basis of their
adherence to such ideology. This has been a highly influential viewpoint among modern
conservative thinkers. E. Michael Jones, for example, argues in his Degenerate Moderns that
Stanley Fish was influenced by his adulterous affairs to reject classic literature that condemned
adultery.[4]
In the British and American literary establishment, the New Criticism was more or less
dominant until the late 1960s. Around that time Anglo-American university literature
departments began to witness a rise of a more explicitly philosophical literary theory,
influenced by structuralism, then post-structuralism, and other kinds of Continental
philosophy. It continued until the mid-1980s, when interest in "theory" peaked. Many later
critics, though undoubtedly still influenced by theoretical work, have been comfortable simply
interpreting literature rather than writing explicitly about methodology and philosophical
presumptions.

Key 20th-century texts
Benedetto Croce: Aesthetic
A. C. Bradley: Poetry for Poetry's Sake
Sigmund Freud: Creative Writers and Daydreaming
Ferdinand de Saussure: Course in General Linguistics
Claude Lvi-Strauss: The Structural Study of Myth
T. E. Hulme: Romanticism and Classicism; Bergson's Theory of Art
Walter Benjamin: On Language as Such and On the Language of Man
Viktor Shklovsky: Art as Technique
T. S. Eliot: Tradition and the Individual Talent; Hamlet and His Problems
Irving Babbitt: Romantic Melancholy
Carl Jung: On the Relation of Analytical Psychology to Poetry
Leon Trotsky: The Formalist School of Poetry and Marxism
Boris Eikhenbaum: The Theory of the "Formal Method"
Virginia Woolf: A Room of One's Own
I. A. Richards: Practical Criticism
Mikhail Bakhtin: Epic and Novel: Toward a Methodology for the Study of the Novel
Georges Bataille: The Notion of Expenditure
John Crowe Ransom: Poetry: A Note in Ontology; Criticism as Pure Speculation
R. P. Blackmur: A Critic's Job of Work
Jacques Lacan: The Mirror Stage as Formative of the Function of the I as Revealed in
Psychoanalytic Experience; The Agency of the Letter in the Unconscious or Reason Since Freud
Gyrgy Lukcs: The Ideal of the Harmonious Man in Bourgeois Aesthetics; Art and Objective
Truth
Paul Valry: Poetry and Abstract Thought
Kenneth Burke: Literature as Equipment for Living
Ernst Cassirer: Art
W. K. Wimsatt and Monroe Beardsley: The Intentional Fallacy, The Affective Fallacy
Cleanth Brooks: The Heresy of Paraphrase; Irony as a Principle of Structure
Jan Mukaovsk: Standard Language and Poetic Language
Jean-Paul Sartre: Why Write?
Simone de Beauvoir: The Second Sex
Ronald Crane: Toward a More Adequate Criticism of Poetic Structure
Philip Wheelwright: The Burning Fountain
Theodor Adorno: Cultural Criticism and Society; Aesthetic Theory
Roman Jakobson: The Metaphoric and Metonymic Poles
Northrop Frye: Anatomy of Criticism; The Critical Path
Gaston Bachelard: The Poetics of Space
Ernst Gombrich: Art and Illusion
Martin Heidegger: The Nature of Language; Language in the Poem; Hlderlin and the Essence
of Poetry
E. D. Hirsch, Jr.: Objective Interpretation
Noam Chomsky: Aspects of the Theory of Syntax
Jacques Derrida: Structure, Sign, and Play in the Discourse of the Human Sciences
Roland Barthes: The Structuralist Activity; The Death of the Author
Michel Foucault: Truth and Power; What Is an Author?; The Discourse on Language
Hans Robert Jauss: Literary History as a Challenge to Literary Theory
Georges Poulet: Phenomenology of Reading
Raymond Williams: The Country and the City
Lionel Trilling: The Liberal Imagination;
Julia Kristeva: From One Identity to Another; Women's Time
Paul de Man: Semiology and Rhetoric; The Rhetoric of Temporality
Harold Bloom: The Dialectics of Poetic Tradition; Poetry, Revisionism, Repression
Chinua Achebe: Colonialist Criticism
Stanley Fish: Normal Circumstances, Literal Language, Direct Speech Acts, the Ordinary, the
Everyday, the Obvious, What Goes Without Saying, and Other Special Cases; Is There a Text in
This Class?
Edward Said: The World, the Text, and the Critic; Secular Criticism
Elaine Showalter: Toward a Feminist Poetics
Sandra Gilbert and Susan Gubar: Infection in the Sentence; The Madwoman in the Attic
Murray Krieger: "A Waking Dream": The Symbolic Alternative to Allegory
Gilles Deleuze and Flix Guattari: Anti-Oedipus: Capitalism and Schizophrenia
Ren Girard: The Sacrificial Crisis
Hlne Cixous: The Laugh of the Medusa
Jonathan Culler: Beyond Interpretation
Geoffrey Hartman: Literary Commentary as Literature
Wolfgang Iser: The Repertoire
Hayden White: The Historical Text as Literary Artifact
Hans-Georg Gadamer: Truth and Method
Paul Ricoeur: The Metaphorical Process as Cognition, Imagination, and Feeling
M. H. Abrams: How to Do Things with Texts
J. Hillis Miller: The Critic as Host
Clifford Geertz: Blurred Genres: The Refiguration of Social Thought
Filippo Tommaso Marinetti: The Foundation and Manifesto of Futurism
Tristan Tzara: Unpretentious Proclamation
Andr Breton: The Surrealist Manifesto; The Declaration of January 27, 1925
Mina Loy: Feminist Manifesto
Yokomitsu Riichi: Sensation and New Sensation
Oswald de Andrade: Cannibalist Manifesto
Andr Breton, Leon Trotsky and Diego Rivera: Manifesto: Towards a Free Revolutionary Art
Hu Shih: Some Modest Proposals for the Reform of Literature