The text seems aimed at advanced placement high school students, college students who are not majoring in English but are taking a literature class, and adult learners who would like to know more about English literature. This book adequately addresses existing interpretations of the literary works chosen as its case studies. Steinberg does, however, seem to consistently back up his arguments and analyses with convincing textual evidence and conscientious appraisals. When people say a narrative viewpoint is cinematic they mean, obviously, that it's LIKE modern cinema, not that cinema actually inspired it: "If I may digress for a moment, let me note that contemporary critics are fond of pointing out that earlier writers use cinematic techniques. After recognizing this really simple method to check out as well as get this Exploring The Humanities: … Part of his solution lies in the way we can rethink reading by stressing aesthetic enjoyment of texts, demystifying literature, allowing for a more openness to interpretation, and by conveying a deeper interest in literary language. One page 132, I'the storm should be i' the storm (lower case i). Steinberg does not reference outside sources, other than to cite the primary texts he is working with, so all material in the textbook is solely from one perspective, which can present certain limitations in terms of teaching diverse readings. But I like it this way.. What matters here is the lliterature, the analysis, the language style, the arguments, etc. It contains themed chapters, which are divided into 8 sections. by Dennis J. Sporre . The textbook provides accurate information in terms of literary analysis from Steinberg’s perspective and theoretical standpoint. I will probably be using the chapters on Shakespeare, Dickens, and Austen in future literature classes. I would use this textbook as supplementary critical reading in survey courses, but I would be much more likely to do so if the works considered in the text were ones I assigned frequently. In addition, only two female writers are included, and no writers of color are included at all: this gives a narrower view of English literature than is necessary or, perhaps, justified. Medical Humanities: An Introduction. Following two chapters on Homer and Virgil, Steinberg offers two chapters on English Renaissance literary works by Sir Philip Sidney (/Astrophel/ and /Stella/) and Shakespeare (/As You Like It/ and /Antony and Cleopatra/), and two chapters on Augustan authors, Alexander Pope (“The Rape of the Lock”) and Henry Fielding (/Joseph Andrews/). HUM 2020 Introduction to the Humanities will introduce students to the ways that the Humanities shape and are shaped by the human experience. On page 84, ste-dame should be step-dame, and three-no should be three-note. Finally, although citing your sources is important in all writing, you will find that in some fields of technical writing, such as the sciences and engineering, it is one of the more important considerations of your writing. You can't fault the book for what it strives to do--to give students a kind of traditional sense of literary studies as a... read more. There is an unintentionally humorous page after the classics section called "The Middle Ages," saying, essentially, sorry there's nothing on the Middle Ages, but see my other book. If cinema is using a technique that is similar to Eliot’s, then cinema is being novelistic, not the other way round.". The absence of a specific footnote doesn't do much harm, but the reader might be helped along by knowing that the reference to show actually appears in Chapter I of "Ulysses" titled Telemachus" and is, I think, found in Stephen's Ballad of the Joking Jesus scene. The subjects that are covered, however, are covered with an appropriate level of detail for undergrad courses. It starts with attitude—with alertness to judgmental heuristics and with the cultivation of intellectual virtues. At a time when the canon is being discarded as a relic of patriarchal values and Western cultural imperialism, Steinberg’s book—simply by virtue of the titles it chooses to focus on—offers an impassioned defense of the aesthetic value of books commonly identified as classics. Steinberg’s text seems most interesting as a unified demonstration of his approach to literary study as part of an overall view of teaching in the humanities. Books of all the subjects for Classes 1 to 12 are available for download. One problem is the missing translation information for Homer's "The Iliad" and "The Odyssey" when these works are cited. To my mind, this example is comically hairsplitting. It shouldn't be a controversial idea, but it is. Eliot preceded cinema. Some of the chapters are on specific literary works, such as Chapter IX, which is on Dickens's "Bleak House." The texts that the author has chosen to cover are timeless and he has approached them from a relevant twenty-first century perspective. Since the whole premise of the book is that it's a personal selection, this seems unnecessary. In Meaning of Humanities 1.1. The book is clearly structured, with an introduction that sets out the principles and aims of the book, followed by individual chapters organized by author and text. Although in his theoretical part of the book Steinberg dwells very little on theoretical approaches to literature such as formalism or post-structuralism, he offers comprehensive and helpful readings of important canonical texts of the Western canon ranging from Homer to many examples taken from British literature. This book is written in clear prose. In his chapter on Shakespeare (chapter 5), for example, Steinberg questions how and why Shakespeare is taught, how Shakespeare might be seen as an interdisciplinary study across various departments in order to rethink the way Shakespeare’s poems and dramatic plays have been institutionalized. The chief problem, in my view, is that the selection of texts implies that, while reading literature should yield enjoyment, only the works of white British authors are really capable of doing so. Each chapter is approximately twenty to thirty pages, which allow for steady pacing in reading assignments and teaching preparation. There are ten chapters in all, with nine devoted to literary discussions of specific literary works. Arts and Culture. Humanities through the Arts 10th Edition . – but also highlights some fascinating, overlooked passages which contribute to our understanding of Plato’s philosophical thought. The chapters, all written by experts in the field, provide an overview of what arguments are, the different types of arguments one can expect to encounter in both philosophy and everyday life, and how to recognise common argumentative mistakes. This book is of relevance to students of the humanities. The writing of Steinberg’s book is transparent, crisp, and engaging. This book is highly modular; in fact, it is much more likely that an instructor would use part of it in a course than all of it. It even happens that the words may mean something that the author did not intend. " Meaning of Humanities 1.1. As time passes, they will move in and out of agreement with the shifting currents of academic theories of literary interpretation, but they will be of some value as long as the texts they discuss are still read. On page 150 in the last paragraph, I think "to" should be "too," but I may be misreading the sentence. This book offers great potential in helping to bring conversations about the importance and pleasure of literature into discourse within humanities classes. This book isn't so much a "textbook" that students work out of; it's a book meant to be read. The book is certainly internally consistent; as noted above, it differs from other textbooks aimed primarily at college students, in that it eschews literary theory and takes the reader’s experience, his or her joy in the journey of reading, as the primary aim and purpose of study. The analyses tend to be a bit anemic in textual citations. One was a concern with class and social mobility from the 1950s onwards, in part evident in debates between Marxists and Weberians. But two of the chapters--V & VIII--are on authors (Shakespeare and Jane Austen). Download Full PDF EBOOK here { https://tinyurl. It doesn't continuously build an argument. Paperback ISBN13: 978-0205995110. Moreover, Bulgakov’s “Heart of a Dog” gave rise, due largely to its film adaptation, to catch-phrases that still appear throughout contemporary Russian media, satirical contexts, and everyday conversation. The author does not claim the book is comprehensive, and in fact he draws attention to the limits of its chapter topics. Asking and answering questions about what culture entails and examines the fundamental properties and intertwining nature of language and culture. The relevant text is clearly stated in each chapter's title. He does very occasionally get carried away by an odd hobbyhorse, as in the quote below, which he admits is a digression. Published: Jan 2014 Downloads: 121 Pages: 61. Following the front matter and the table of contents, the book is divided between an introduction that presents a thesis advocating literary study as central to the humanities, and situates the analytical chapters, which comprise 90% of the book, such that overall the text demonstrates an approach to literary analysis workable for general readers.