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	<title>Talk:2012 AM The Role of the Critic - Revision history</title>
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	<updated>2026-05-01T11:07:41Z</updated>
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		<title>Anna Auguscik: /* Further Reading (Chronological List) */</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21023&amp;oldid=prev"/>
		<updated>2012-05-12T15:04:34Z</updated>

		<summary type="html">&lt;p&gt;&lt;span class=&quot;autocomment&quot;&gt;Further Reading (Chronological List)&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 17:04, 12 May 2012&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l87&quot;&gt;Line 87:&lt;/td&gt;
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&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Margaret Fuller. &amp;quot;A Short Essay on Critics&amp;quot;. The Dial I (July 1840). The web of American Transcendentalism. Web. [http://www.vcu.edu/engweb/transcendentalism/authors/fuller/essayoncritics.html]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Margaret Fuller. &amp;quot;A Short Essay on Critics&amp;quot;. The Dial I (July 1840). The web of American Transcendentalism. Web. [http://www.vcu.edu/engweb/transcendentalism/authors/fuller/essayoncritics.html]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Charles Baudelaire. &amp;quot;What is the Good of Criticism? [1846]&amp;quot; The Mirror of Art. Critical Studies by Charles Baudelaire. Translated and Edited With Notes and Illustrations By Jonathan Mayne. Garden City, New York: Doubleday Anchor Books, 1956. 40-43. Print. [http://ia600609.us.archive.org/34/items/mirrorofartcriti00baud/mirrorofartcriti00baud.pdf]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Charles Baudelaire. &amp;quot;What is the Good of Criticism? [1846]&amp;quot; The Mirror of Art. Critical Studies by Charles Baudelaire. Translated and Edited With Notes and Illustrations By Jonathan Mayne. Garden City, New York: Doubleday Anchor Books, 1956. 40-43. Print. [http://ia600609.us.archive.org/34/items/mirrorofartcriti00baud/mirrorofartcriti00baud.pdf]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &quot;The Function of Criticism at the Present Time &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[&lt;/del&gt;1864&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;]&lt;/del&gt;&quot;. Lectures and Essays in Criticism. Ann Arbor: U of Michigan P, 1990. 258-285.]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &quot;The Function of Criticism at the Present Time &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(&lt;/ins&gt;1864&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;)&lt;/ins&gt;&quot;. Lectures and Essays in Criticism. Ann Arbor: U of Michigan P, 1990. 258-285.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &quot;The Critic as Artist &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[&lt;/del&gt;1889&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;]&lt;/del&gt;. The Works of Oscar Wilde 1856-1900. Ed. G.F. Maine. London: Collins, 1948. 948-998.]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &quot;The Critic as Artist &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(&lt;/ins&gt;1889&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;)&lt;/ins&gt;. The Works of Oscar Wilde 1856-1900. Ed. G.F. Maine. London: Collins, 1948. 948-998.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*T. S. Eliot. &amp;quot;The Function of Criticism [1923]&amp;quot;. Selected essays 1917-1932. London: Faber and Faber, [1932] 1972. (ang 647.1 AA 3717,3)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*T. S. Eliot. &amp;quot;The Function of Criticism [1923]&amp;quot;. Selected essays 1917-1932. London: Faber and Faber, [1932] 1972. (ang 647.1 AA 3717,3)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &amp;quot;Mr. Bennett and Mrs. Brown.&amp;quot; Published by Leonard and Virgina Woolf at the Hogarth Press Tavistock Square, London W.C. 1924.]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &amp;quot;Mr. Bennett and Mrs. Brown.&amp;quot; Published by Leonard and Virgina Woolf at the Hogarth Press Tavistock Square, London W.C. 1924.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l113&quot;&gt;Line 113:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 113:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Topor, Wolor.  &amp;quot;The Role of the African Literary Critic as an Instrument of Innovation&amp;quot;.  pp. 105-20. Le Critique africain et son peuple comme producteur de civilisation. Paris: Presence Africaine, 1977. 549 pp.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Topor, Wolor.  &amp;quot;The Role of the African Literary Critic as an Instrument of Innovation&amp;quot;.  pp. 105-20. Le Critique africain et son peuple comme producteur de civilisation. Paris: Presence Africaine, 1977. 549 pp.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Michael C. Leff. &amp;quot;Interpretation and the art of the rhetorical critic.&amp;quot; Western Journal of Speech Communication 44.4 (1980): 337-349.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Michael C. Leff. &amp;quot;Interpretation and the art of the rhetorical critic.&amp;quot; Western Journal of Speech Communication 44.4 (1980): 337-349.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Showalter: &lt;/del&gt;&quot;Feminist Criticism in the Wilderness&quot; (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1980&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Showalter, &lt;/ins&gt;Elaine&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &lt;/ins&gt;&quot;Feminist Criticism in the Wilderness&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;.&lt;/ins&gt;&quot; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Critical Inquiry 8:2 &lt;/ins&gt;(&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1981:Winter&lt;/ins&gt;)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;: 179-205. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hernadi. P. (ed.). What is criticism? Bloomington. IN: Indiana University Press, 1981. (esp.: René Wellek. &amp;quot;A Historical Perspective: Literary Criticism.&amp;quot; 297-321.)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hernadi. P. (ed.). What is criticism? Bloomington. IN: Indiana University Press, 1981. (esp.: René Wellek. &amp;quot;A Historical Perspective: Literary Criticism.&amp;quot; 297-321.)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Said, Edward W. &amp;quot;Secular Criticism.&amp;quot; The World, the Text, and the Critic. Harvard University Press, 1983. 1-30.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Said, Edward W. &amp;quot;Secular Criticism.&amp;quot; The World, the Text, and the Critic. Harvard University Press, 1983. 1-30.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Verdaasdonk, H. &amp;quot;Social and Economic Factors in the Attribution of Literary Quality.&amp;quot; Poetics 12 (1983): 383-395.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Verdaasdonk, H. &amp;quot;Social and Economic Factors in the Attribution of Literary Quality.&amp;quot; Poetics 12 (1983): 383-395.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Van Rees, C.J. &amp;quot;How a literary work becomes a masterpiece: on the threefold selection practiced by literary criticism.&amp;quot; Poetics 12 (1983): 397–417.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Van Rees, C.J. &amp;quot;How a literary work becomes a masterpiece: on the threefold selection practiced by literary criticism.&amp;quot; Poetics 12 (1983): 397–417.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Eagleton, Terry. The Function of Criticism.London: Verso, 1984. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elsom, John. &amp;quot;The Social Role of the Theatre Critic.&amp;quot; Contemporary Review 246.1432 (1985): 259-263.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elsom, John. &amp;quot;The Social Role of the Theatre Critic.&amp;quot; Contemporary Review 246.1432 (1985): 259-263.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Rosengren, Karl Erik. &amp;quot;Literary Criticism: Future Invented.&amp;quot; Poetics 16 (1987): 295-325.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Rosengren, Karl Erik. &amp;quot;Literary Criticism: Future Invented.&amp;quot; Poetics 16 (1987): 295-325.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;

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		<author><name>Anna Auguscik</name></author>
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	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21006&amp;oldid=prev</id>
		<title>Anna Auguscik at 20:50, 22 April 2012</title>
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		<updated>2012-04-22T20:50:51Z</updated>

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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 22:50, 22 April 2012&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l89&quot;&gt;Line 89:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 89:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &amp;quot;The Function of Criticism at the Present Time [1864]&amp;quot;. Lectures and Essays in Criticism. Ann Arbor: U of Michigan P, 1990. 258-285.]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &amp;quot;The Function of Criticism at the Present Time [1864]&amp;quot;. Lectures and Essays in Criticism. Ann Arbor: U of Michigan P, 1990. 258-285.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &amp;quot;The Critic as Artist [1889]. The Works of Oscar Wilde 1856-1900. Ed. G.F. Maine. London: Collins, 1948. 948-998.]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &amp;quot;The Critic as Artist [1889]. The Works of Oscar Wilde 1856-1900. Ed. G.F. Maine. London: Collins, 1948. 948-998.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*T. S. Eliot. The Function of Criticism (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1923&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*T. S. Eliot. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot;&lt;/ins&gt;The Function of Criticism &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1923]&quot;. Selected essays 1917-1932. London: Faber and Faber, [1932] 1972. &lt;/ins&gt;(&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;ang 647.1 AA 3717,3&lt;/ins&gt;)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &amp;quot;Mr. Bennett and Mrs. Brown.&amp;quot; Published by Leonard and Virgina Woolf at the Hogarth Press Tavistock Square, London W.C. 1924.]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &amp;quot;Mr. Bennett and Mrs. Brown.&amp;quot; Published by Leonard and Virgina Woolf at the Hogarth Press Tavistock Square, London W.C. 1924.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*I.A. Richards&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;: &lt;/del&gt;Principles of Literary Criticism (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1924&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*I.A. Richards&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &lt;/ins&gt;Principles of Literary Criticism &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1924]. New York: Harcourt, Brace and World, [1928]. &lt;/ins&gt;(&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;asl 915 e AJ 6250&lt;/ins&gt;)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Rudolf Arnheim&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, “The &lt;/del&gt;Film Critic of &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Tomorrow” (&lt;/del&gt;1935&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;)&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Rudolf Arnheim&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &quot;The &lt;/ins&gt;Film Critic of &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Tomorrow [&lt;/ins&gt;1935&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;]&quot;. Essential Texts. Project New Cinephilia. Web. [http://projectnewcinephilia.files.wordpress.com/2011/03/arnheim.pdf]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*R. P. Blackmur, A Critic&amp;#039;s Job of Work (1935)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*R. P. Blackmur, A Critic&amp;#039;s Job of Work (1935)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Joseph Goebbels, “Decree Concerning Art Criticism” (excerpt) (1936)  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Joseph Goebbels, “Decree Concerning Art Criticism” (excerpt) (1936)  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21005&amp;oldid=prev</id>
		<title>Anna Auguscik at 14:53, 22 April 2012</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21005&amp;oldid=prev"/>
		<updated>2012-04-22T14:53:35Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 16:53, 22 April 2012&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l86&quot;&gt;Line 86:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 86:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Alexander Pope. An Essay on Criticism [1709].  The University of Adelaide Library. Adelaide, Australia: eBooks@Adelaide. Web. [http://ebooks.adelaide.edu.au/p/pope/alexander/criticism/index.html]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Alexander Pope. An Essay on Criticism [1709].  The University of Adelaide Library. Adelaide, Australia: eBooks@Adelaide. Web. [http://ebooks.adelaide.edu.au/p/pope/alexander/criticism/index.html]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Margaret Fuller. &amp;quot;A Short Essay on Critics&amp;quot;. The Dial I (July 1840). The web of American Transcendentalism. Web. [http://www.vcu.edu/engweb/transcendentalism/authors/fuller/essayoncritics.html]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Margaret Fuller. &amp;quot;A Short Essay on Critics&amp;quot;. The Dial I (July 1840). The web of American Transcendentalism. Web. [http://www.vcu.edu/engweb/transcendentalism/authors/fuller/essayoncritics.html]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Charles Baudelaire. &quot;What is the Good of Criticism?&quot; &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(1846)&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Charles Baudelaire. &quot;What is the Good of Criticism? &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1846]&lt;/ins&gt;&quot; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;The Mirror of Art. Critical Studies by Charles Baudelaire. Translated and Edited With Notes and Illustrations By Jonathan Mayne. Garden City, New York: Doubleday Anchor Books, 1956. 40-43. Print. [http://ia600609.us.archive.org/34/items/mirrorofartcriti00baud/mirrorofartcriti00baud.pdf]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &quot;The Function of Criticism at the Present Time&quot;. &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(1864)&lt;/del&gt;]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &quot;The Function of Criticism at the Present Time &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1864]&lt;/ins&gt;&quot;. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Lectures and Essays in Criticism. Ann Arbor: U of Michigan P, 1990. 258-285.&lt;/ins&gt;]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&lt;/del&gt;The Critic as Artist&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&lt;/del&gt;. &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(1889)&lt;/del&gt;]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot;&lt;/ins&gt;The Critic as Artist &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1889]. The Works of Oscar Wilde 1856-1900. Ed. G.F. Maine. London: Collins, 1948. 948-998&lt;/ins&gt;.]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*T. S. Eliot. The Function of Criticism (1923)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*T. S. Eliot. The Function of Criticism (1923)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&lt;/del&gt;Mr. Bennett and Mrs. Brown&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039; (&lt;/del&gt;1924&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;)&lt;/del&gt;]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot;&lt;/ins&gt;Mr. Bennett and Mrs. Brown&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;.&quot; Published by Leonard and Virgina Woolf at the Hogarth Press Tavistock Square, London W.C. &lt;/ins&gt;1924&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;.&lt;/ins&gt;]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*I.A. Richards: Principles of Literary Criticism (1924)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*I.A. Richards: Principles of Literary Criticism (1924)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Rudolf Arnheim, “The Film Critic of Tomorrow” (1935)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Rudolf Arnheim, “The Film Critic of Tomorrow” (1935)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l109&quot;&gt;Line 109:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 109:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Houck, James A.  &amp;quot;Hazlitt on the Obligations of the Critic.&amp;quot;. Wordsworth Circle: 4. (1973), pp. 250-58.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Houck, James A.  &amp;quot;Hazlitt on the Obligations of the Critic.&amp;quot;. Wordsworth Circle: 4. (1973), pp. 250-58.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Rollin, Roger B.  &amp;quot;Against Evaluation: The Role of the Critic of Popular Culture.&amp;quot;. Journal of Popular Culture: 9. (1975), pp. 355-65.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Rollin, Roger B.  &amp;quot;Against Evaluation: The Role of the Critic of Popular Culture.&amp;quot;. Journal of Popular Culture: 9. (1975), pp. 355-65.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Northrop Frye. &quot;The Responsibilities of the Critic&quot;. MLN 91. 5, Centennial Issue: Responsibilities of the Critic (Oct 1976):797-813. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Barbara Smith: &amp;quot;Towards a Black Feminist Criticism&amp;quot; (1977)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Barbara Smith: &amp;quot;Towards a Black Feminist Criticism&amp;quot; (1977)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Topor, Wolor.  &amp;quot;The Role of the African Literary Critic as an Instrument of Innovation&amp;quot;.  pp. 105-20. Le Critique africain et son peuple comme producteur de civilisation. Paris: Presence Africaine, 1977. 549 pp.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Topor, Wolor.  &amp;quot;The Role of the African Literary Critic as an Instrument of Innovation&amp;quot;.  pp. 105-20. Le Critique africain et son peuple comme producteur de civilisation. Paris: Presence Africaine, 1977. 549 pp.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21003&amp;oldid=prev</id>
		<title>Anna Auguscik at 10:57, 22 April 2012</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21003&amp;oldid=prev"/>
		<updated>2012-04-22T10:57:34Z</updated>

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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 12:57, 22 April 2012&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l81&quot;&gt;Line 81:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 81:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Further Reading (Chronological List)==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Further Reading (Chronological List)==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Huet&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;: &lt;/del&gt;A Treatise of Romances and their Original (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1672&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Pierre &lt;/ins&gt;Huet&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &lt;/ins&gt;A Treatise of Romances and their Original &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1671]. Translated out of French. London: Printed by R. Battersby for S. Heyrick, at Grace Inn Gate in Holborn, 1672. EEBO. Web. &lt;/ins&gt;(&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;pdf&lt;/ins&gt;)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*John Dryden&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;:&quot;&lt;/del&gt;Grounds of Criticism in Tragedy&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot; &lt;/del&gt;(&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1679&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*John Dryden&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &lt;/ins&gt;Grounds of Criticism in Tragedy &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1679]. The Cambridge History of English and American Literature in 18 Volumes &lt;/ins&gt;(&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1907–21&lt;/ins&gt;)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. Volume VIII. The Age of Dryden.Bartleby.com. Web. [http://www.bartleby.com/218/0115.html]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Nicholas Boileau&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;: &lt;/del&gt;The Art of Poetry &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(&lt;/del&gt;1683&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;)&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Nicholas Boileau&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &lt;/ins&gt;The Art of Poetry &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1683]. Written in French by The SIEUR de Boileau, Made English. LONDON: Printed for R. Bentley, and S. Magnes, in Russel-Street in Covent-Garden, &lt;/ins&gt;1683&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. University of Virginia Library Electronic Text Center. 2000. Web. [http://etext.lib.virginia.edu/modeng/modengB.browse.html]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Alexander Pope&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;: &quot;&lt;/del&gt;An Essay on Criticism&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot; (1711)&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Alexander Pope&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &lt;/ins&gt;An Essay on Criticism &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[1709].  The University of Adelaide Library. Adelaide, Australia: eBooks@Adelaide. Web. [http://ebooks.adelaide.edu.au/p/pope/alexander/criticism/index.html]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Margaret Fuller&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, “A &lt;/del&gt;Short Essay on &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Critics” &lt;/del&gt;(1840)  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Margaret Fuller&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &quot;A &lt;/ins&gt;Short Essay on &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Critics&quot;. The Dial I &lt;/ins&gt;(&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;July &lt;/ins&gt;1840)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. The web of American Transcendentalism. Web. [http://www.vcu.edu/engweb/transcendentalism/authors/fuller/essayoncritics.html]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Charles Baudelaire&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, “What &lt;/del&gt;is the Good of Criticism?&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;” &lt;/del&gt;(1846)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Charles Baudelaire&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. &quot;What &lt;/ins&gt;is the Good of Criticism?&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot; &lt;/ins&gt;(1846)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &amp;quot;The Function of Criticism at the Present Time&amp;quot;. (1864)]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &amp;quot;The Function of Criticism at the Present Time&amp;quot;. (1864)]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &amp;#039;&amp;#039;The Critic as Artist&amp;#039;&amp;#039;. (1889)]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &amp;#039;&amp;#039;The Critic as Artist&amp;#039;&amp;#039;. (1889)]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21000&amp;oldid=prev</id>
		<title>Anna Auguscik at 21:31, 21 April 2012</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=21000&amp;oldid=prev"/>
		<updated>2012-04-21T21:31:34Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 23:31, 21 April 2012&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;__TOC__&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Criticism of VGL==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Criticism of VGL==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Times Online, &amp;quot;Hot or what? D. B. C. Pierre&amp;quot;, November 16, 2002&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Times Online, &amp;quot;Hot or what? D. B. C. Pierre&amp;quot;, November 16, 2002&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l112&quot;&gt;Line 112:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 113:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Michael C. Leff. &amp;quot;Interpretation and the art of the rhetorical critic.&amp;quot; Western Journal of Speech Communication 44.4 (1980): 337-349.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Michael C. Leff. &amp;quot;Interpretation and the art of the rhetorical critic.&amp;quot; Western Journal of Speech Communication 44.4 (1980): 337-349.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine Showalter: &amp;quot;Feminist Criticism in the Wilderness&amp;quot; (1980)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine Showalter: &amp;quot;Feminist Criticism in the Wilderness&amp;quot; (1980)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hernadi. P. (ed.). What is criticism? Bloomington. IN: Indiana University Press, 1981.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hernadi. P. (ed.). What is criticism? Bloomington. IN: Indiana University Press, 1981. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(esp.: René Wellek. &quot;A Historical Perspective: Literary Criticism.&quot; 297-321.)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Said, Edward W. &amp;quot;Secular Criticism.&amp;quot; The World, the Text, and the Critic. Harvard University Press, 1983. 1-30.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Said, Edward W. &amp;quot;Secular Criticism.&amp;quot; The World, the Text, and the Critic. Harvard University Press, 1983. 1-30.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Verdaasdonk, H. &amp;quot;Social and Economic Factors in the Attribution of Literary Quality.&amp;quot; Poetics 12 (1983): 383-395.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Verdaasdonk, H. &amp;quot;Social and Economic Factors in the Attribution of Literary Quality.&amp;quot; Poetics 12 (1983): 383-395.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=20920&amp;oldid=prev</id>
		<title>Anna Auguscik at 05:59, 17 April 2012</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=20920&amp;oldid=prev"/>
		<updated>2012-04-17T05:59:26Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 07:59, 17 April 2012&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/del&gt;Criticism of VGL&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;==&lt;/ins&gt;Criticism of VGL&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;==&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Times Online, &amp;quot;Hot or what? D. B. C. Pierre&amp;quot;, November 16, 2002&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Times Online, &amp;quot;Hot or what? D. B. C. Pierre&amp;quot;, November 16, 2002&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.telegraph.co.uk/culture/donotmigrate/3588375/An-heir-for-Holden-Caulfield.html The Telegraph, &amp;quot;An heir for Holden Caulfield&amp;quot;, By Jasper Rees, 10 Jan 2003] (1190 words, interview-review)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.telegraph.co.uk/culture/donotmigrate/3588375/An-heir-for-Holden-Caulfield.html The Telegraph, &amp;quot;An heir for Holden Caulfield&amp;quot;, By Jasper Rees, 10 Jan 2003] (1190 words, interview-review)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l35&quot;&gt;Line 35:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 35:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Himansu S. Mohapatra. &amp;quot;The Real within the Hyper-Real: Identity and Social Location in Vernon God Little.&amp;quot; Ravenshaw Journal of Literary and Cultural Studies 1.1 (Winter 2011): 67-77. [http://ravenshawuniversity.ac.in/File/RJLCS%202011.pdf]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Himansu S. Mohapatra. &amp;quot;The Real within the Hyper-Real: Identity and Social Location in Vernon God Little.&amp;quot; Ravenshaw Journal of Literary and Cultural Studies 1.1 (Winter 2011): 67-77. [http://ravenshawuniversity.ac.in/File/RJLCS%202011.pdf]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;  &lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;==&lt;/ins&gt;Criticism of CI&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;==&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/del&gt;Criticism of CI&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*The Independent, 20 Jul 2002, the Literator, &amp;quot;Cover Stories&amp;quot;. (short)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*The Independent, 20 Jul 2002, the Literator, &amp;quot;Cover Stories&amp;quot;. (short)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.guardian.co.uk/books/2002/jul/20/featuresreviews.guardianreview23 The Guardian, 20 Jul 2002, Nicholas Clee, &amp;quot;The Bookseller&amp;quot;.] (103 words, short on cross-over)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.guardian.co.uk/books/2002/jul/20/featuresreviews.guardianreview23 The Guardian, 20 Jul 2002, Nicholas Clee, &amp;quot;The Bookseller&amp;quot;.] (103 words, short on cross-over)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l79&quot;&gt;Line 79:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 78:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Milda Danytė. Tarp teksto ir vaizdo: Šiuolaikinio iliustruoto romano pavyzdžiai. Acta Humanitarica Universitatis Saulensis 11 (2010): 81-90.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Milda Danytė. Tarp teksto ir vaizdo: Šiuolaikinio iliustruoto romano pavyzdžiai. Acta Humanitarica Universitatis Saulensis 11 (2010): 81-90.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Christiana Gregoriou. The Poetics of Deviance and the Curious Incident of the Dog in the Night-Time. The Millennial Detective: Essays on Trends in Crime Fiction, Film and Television, 1990-2010. Ed. Malcah Effron and Stephen Knight. Jefferson, NC: McFarland, 2011. 97-111.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Christiana Gregoriou. The Poetics of Deviance and the Curious Incident of the Dog in the Night-Time. The Millennial Detective: Essays on Trends in Crime Fiction, Film and Television, 1990-2010. Ed. Malcah Effron and Stephen Knight. Jefferson, NC: McFarland, 2011. 97-111.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;==Further Reading (Chronological List)==&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Huet: A Treatise of Romances and their Original (1672)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*John Dryden:&quot;Grounds of Criticism in Tragedy&quot; (1679)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Nicholas Boileau: The Art of Poetry (1683)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Alexander Pope: &quot;An Essay on Criticism&quot; (1711)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Margaret Fuller, “A Short Essay on Critics” (1840) &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Charles Baudelaire, “What is the Good of Criticism?” (1846)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. &quot;The Function of Criticism at the Present Time&quot;. (1864)]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. &#039;&#039;The Critic as Artist&#039;&#039;. (1889)]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*T. S. Eliot. The Function of Criticism (1923)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. &#039;&#039;Mr. Bennett and Mrs. Brown&#039;&#039; (1924)]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*I.A. Richards: Principles of Literary Criticism (1924)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Rudolf Arnheim, “The Film Critic of Tomorrow” (1935)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*R. P. Blackmur, A Critic&#039;s Job of Work (1935)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Joseph Goebbels, “Decree Concerning Art Criticism” (excerpt) (1936) &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*John Crowe Ransom, &quot;Criticism, Inc.&quot; (1937)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Cox, R.G. The great reviews. Scrutiny 6 (1937) 2-20; 155-175.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*John Crowe Ransom, &quot;Criticism as Pure Speculation,&quot; (1941)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature [1946]. Introduction by Edward W. Said. Trans. Willard R. Trask. Princeton University Press, 2003. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*La Drière, J. C.  &quot;Role of the Critic&quot;. Spirit: A Magazine of Poetry: 13. (1947), pp. 179-186.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Randall Jarrell, “The Age of Criticism” (1952) &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Northrop Frye, Herman. Anatomy of Criticism. New Jersey: Princeton U. Press, 1957.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Albert, Robert S.  &quot;The Rôle of the Critic in Mass Communications: I. A Theoretical Analysis&quot;. Journal of Social Psychology: 48. (1958), pp. 265-274.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Cargill, Oscar.  &quot;The Role of the Critic&quot;. College English: 20.3 (1958 Dec.), pp. 105-10.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Alfred Kazin, “The Function of Criticism Today” (1962)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Narasimhaiah, C. D.  &quot;A Symposium on the Writer and the Public, III: The Role of the Critic&quot;. Literary Criterion: 5.4 (1963), pp. 50-54. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Walter Sutton and Richard Foster. Modern Criticism in Theory and Practice. 1963. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Houck, James A.  &quot;Hazlitt on the Obligations of the Critic.&quot;. Wordsworth Circle: 4. (1973), pp. 250-58. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Rollin, Roger B.  &quot;Against Evaluation: The Role of the Critic of Popular Culture.&quot;. Journal of Popular Culture: 9. (1975), pp. 355-65. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Barbara Smith: &quot;Towards a Black Feminist Criticism&quot; (1977)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Topor, Wolor.  &quot;The Role of the African Literary Critic as an Instrument of Innovation&quot;.  pp. 105-20. Le Critique africain et son peuple comme producteur de civilisation. Paris: Presence Africaine, 1977. 549 pp. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Michael C. Leff. &quot;Interpretation and the art of the rhetorical critic.&quot; Western Journal of Speech Communication 44.4 (1980): 337-349.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Elaine Showalter: &quot;Feminist Criticism in the Wilderness&quot; (1980)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Hernadi. P. (ed.). What is criticism? Bloomington. IN: Indiana University Press, 1981. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Said, Edward W. &quot;Secular Criticism.&quot; The World, the Text, and the Critic. Harvard University Press, 1983. 1-30.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Verdaasdonk, H. &quot;Social and Economic Factors in the Attribution of Literary Quality.&quot; Poetics 12 (1983): 383-395. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Van Rees, C.J. &quot;How a literary work becomes a masterpiece: on the threefold selection practiced by literary criticism.&quot; Poetics 12 (1983): 397–417.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Elsom, John. &quot;The Social Role of the Theatre Critic.&quot; Contemporary Review 246.1432 (1985): 259-263. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Rosengren, Karl Erik. &quot;Literary Criticism: Future Invented.&quot; Poetics 16 (1987): 295-325.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Van Rees, C.J. &quot;How reviewers reach consensus on the value of literary works.&quot; Poetics, 16 (1987): 275–294.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Glaberson, Eric. &quot;The literary criticism of the New York intellectuals: a defense and appreciation.&quot; American Studies 29. 1 (Spring 1988): 71-85.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Henry Louis Gates, Jr.: The Signifying Monkey: A Theory of African-American Literary Criticism (1989) &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Wayne Koestenbaum: Engendering Men: The Question of Male Feminist Criticism (1990)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Kelkar, Ashok R. &quot;Making and Writing Literary History: The Critic&#039;s Role.&quot; New Quest 80 (1990): 89-95.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Wesley Shrum. &quot;Critics and publics: cultural mediation in highbrow and popular performing arts&quot;. American Journal of Sociology 97. 2 (Sep 1991): 347-375&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Morris Dickstein, “Introduction: What Happened to Criticism,” from Double Agent: The Critic and Society (1992) &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Warnick, Barbara.  &quot;Leff in Context: What Is the Critic&#039;s Role?&quot;. The Quarterly Journal of Speech: 78.2 (1992 May), pp. 232-37.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Billington, Michael. &quot;The Role of the Theatre Critic in a Climate of Crisis.&quot; Critical Survey 5.1 (1993): 3-7.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Levo, Yael Zarhy Levo. &quot;The theatre critic as a cultural agent: Esslin, Marowitz and Tynan.&quot; Poetics 21 (1993): 525-543.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Judith Williamson, Introduction to Deadline at Dawn (1993)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Cameron, S. On the Role of Critics in the Culture Industry , Journal of Cultural Economics 19:4 (1995): 321-331. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Tobias Döring, Uwe Schäfer, Mark Stein (eds.). Can “The Subaltern” Be Read? The Role of the Critic in Postcolonial Studies. ACOLIT Special Issue No. 2. Frankfurt a.M.: Institut für England- und Amerikastudien, 1996.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Eigenbrod, Renate. &quot;Can &#039;the Subaltern&#039; Be Read? The Role of the Critic in Postcolonial Studies: An Epilogue to a Workshop.&quot; Acolit 2 (1996): 97-101.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Smallwood, Philip. &quot;The definition of criticism&quot;. New Literary History 27.3 (1996): 545–554.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* J. Hoberman, “The Film Critic of Tomorrow, Today” (1996)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Janssen, Susanne. &quot;Reviewing as a social practice: institutional constraints on critics’ attention for contemporary fiction.&quot; Poetics 24.5 (1997) 275–297.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Eaglestone, Robert. Ethical Criticism: Reading After Levinas. Edinburgh: Edinburgh University Press, 1997&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Wouter de Nooy. &quot;&#039;A literary playground&#039;: Literary criticism and balance theory&quot;. Poetics 26 (1999): 385-404.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Greer, Graham. &quot;The Role of the Professional Theatre Critic in a Post-Apartheid South Africa.&quot; South African Theatre Journal 15 (2001): 56-64. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Suman Basuroy, Subimal Chatterjee and S. Abraham Ravid. &quot;How Critical Are Critical Reviews? The Box Office Effects of Film Critics, Star Power, and Budgets.&quot; The Journal of Marketing 67:4 (Oct., 2003): 103-117.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Wayne Booth. &quot;To: All Who Care about the Future of Criticism. From: Anon. February 7, 2003&quot;. Critical Inquiry 30 (Winter 2004): 350-354. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Glynn, Mary Ann and Michael. Lounsbury. &quot;From the Critics&#039; Corner: Logic Blending, Discursive Change and Authenticity in a Cultural Production System&quot;. Journal of Management Studies 42.5 (Jul 2005): 1031-1055.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*McDonald, Rónán. The Death of the Critic. London: Continuum Press, [2007] 2008.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Day, Gary. Literary Criticism: A New History. Edinburgh University Press. 2008. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*McDonald, Rónán. &quot;The Value of Arts and the Art of Evaluation: English Studies and Literary Criticism.&quot; The Public Value of the Humanities. Ed. Jonathan Bate. London: Bloomsbury, 2010.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Nordin, Irene Gilsenan. &quot;Poetry and Education: The Role of the Literary Critic in Academia.&quot; Creation, Publishing, and Criticism: The Advance of Women&#039;s Writing. Ed. Maria Xesús Nogueira, et al. New York, NY: Peter Lang, 2010. 75-82. Galician Studies 2. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Verboord, Marc. &quot;The Legitimacy of Book Critics in the Age of the Internet and Omnivorousness: Expert Critics, Internet Critics and Peer Critics in Flanders and the Netherlands&quot;. European Sociological Review 26.6 (2010): 623-637. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* David Bordwell, “Academics vs. Critics” (2011)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;* Adrian Martin, “No Direction Home: Creative Criticism” (2011)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=20917&amp;oldid=prev</id>
		<title>Anna Auguscik: Created page with &#039;&#039;&#039;&#039;Criticism of VGL&#039;&#039;&#039; *Times Online, &quot;Hot or what? D. B. C. Pierre&quot;, November 16, 2002 *[http://www.telegraph.co.uk/culture/donotmigrate/3588375/An-heir-for-Holden-Caulfield.htm…&#039;</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Talk:2012_AM_The_Role_of_the_Critic&amp;diff=20917&amp;oldid=prev"/>
		<updated>2012-04-16T10:55:55Z</updated>

		<summary type="html">&lt;p&gt;Created page with &amp;#039;&amp;#039;&amp;#039;&amp;#039;Criticism of VGL&amp;#039;&amp;#039;&amp;#039; *Times Online, &amp;quot;Hot or what? D. B. C. Pierre&amp;quot;, November 16, 2002 *[http://www.telegraph.co.uk/culture/donotmigrate/3588375/An-heir-for-Holden-Caulfield.htm…&amp;#039;&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&amp;#039;&amp;#039;&amp;#039;Criticism of VGL&amp;#039;&amp;#039;&amp;#039;&lt;br /&gt;
*Times Online, &amp;quot;Hot or what? D. B. C. Pierre&amp;quot;, November 16, 2002&lt;br /&gt;
*[http://www.telegraph.co.uk/culture/donotmigrate/3588375/An-heir-for-Holden-Caulfield.html The Telegraph, &amp;quot;An heir for Holden Caulfield&amp;quot;, By Jasper Rees, 10 Jan 2003] (1190 words, interview-review)&lt;br /&gt;
*Times Online, &amp;quot;The accused&amp;quot;, January 18, 2003&lt;br /&gt;
*[http://books.guardian.co.uk/bookerprize2003/story/0,13819,1019831,00.html The Guardian, &amp;quot;Lone star&amp;quot;, Carrie O&amp;#039;Grady, Saturday January 18, 2003] (678 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2003/jan/19/fiction.features2 The Observer, &amp;quot;Growing up with Jesus&amp;quot;, Jonathan Heawood, Sunday 19 January 2003] (702)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2003/jan/19/fiction.features The Observer, &amp;quot;You&amp;#039;ll die laughing&amp;quot;, Sean O&amp;#039;Hagan, Sunday 19 January 2003] (1204 words, interview-review)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2003/feb/01/digestedread.bookerprize2003 The Guardian, &amp;quot;Vernon God Little by DBC Pierre: Condensed in the style of the original&amp;quot;, Saturday 1 February 2003] (parody/review, 415 words)&lt;br /&gt;
*The Independent, &amp;quot;Vernon God Little by DBC Pierre: A Huckleberry Finn for the Eminem generation&amp;quot;, By Marianne Brace, Monday, 3 February 2003&lt;br /&gt;
*Times Online, Times Literary Supplement, &amp;quot;Vernon God Little&amp;quot;, Nick Seddon, February 7, 2003&lt;br /&gt;
*The Sunday Times, &amp;quot;Review: Fiction: Vernon God Little by DBC Pierre&amp;quot;, Hugo Barnacle, February 23, 2003&lt;br /&gt;
*[http://www.smh.com.au/articles/2003/03/14/1047583693486.html The Sydney Morning Herald, &amp;quot;Vernon God Little&amp;quot;, Andrew Laing, March 15 2003] (500 words)&lt;br /&gt;
*Spectator, &amp;quot;Recent first novels&amp;quot;, Venetia Ansell, Oct 11, 2003&lt;br /&gt;
*[http://www.newyorker.com/archive/2003/10/27/031027crbo_books1 The New Yorker, &amp;quot;Showtime: A Booker Prize winner reimagines America&amp;quot;, by Joyce Carol Oates, October 27, 2003] (1253 words)&lt;br /&gt;
*[http://www.csmonitor.com/2003/1104/p14s03-bogn.html The Christian Science Monitor, &amp;quot;Columbine dominates Europe&amp;#039;s concept of US&amp;quot;, Ron Charles, from the November 04, 2003 edition] (852 words)&lt;br /&gt;
*[http://www.time.com/time/magazine/article/0,9171,1006060,00.html?promoid=googlep Time, &amp;quot;Writer Wrong&amp;quot;, By Lev Grossman Monday, Nov. 03, 2003] (352 words)&lt;br /&gt;
*[http://www.nytimes.com/2003/11/05/books/books-of-the-times-deep-in-the-heart-of-texas-via-australia.html?pagewanted=all&amp;amp;src=pm Michiko Kakutani, &amp;quot;Deep in the Heart of Texas (Via Australia)&amp;quot;, The New York Times, November 05, 2003] (802 words)&lt;br /&gt;
*[http://dir.salon.com/story/books/feature/2003/11/06/shootings/index.html Salon.com, &amp;quot;Furriners go nuts for gun-totin&amp;#039; Yanks!&amp;quot;, Laura Miller, Nov 6, 2003] (1573 words)&lt;br /&gt;
*[http://www.nytimes.com/2003/11/09/books/holden-caulfield-on-ritalin.html?pagewanted=all&amp;amp;src=pm The New York Times, &amp;quot;Holden Caulfield on Ritalin&amp;quot;, Sam Sifton , November 9, 2003] (1145 words)&lt;br /&gt;
*[http://www.lrb.co.uk/v25/n22/james-wood/the-lie-world James Wood, &amp;quot;The Lie-World&amp;quot;, London Review of Books 25. 22 (20 November 2003): 25] (2130 words)&lt;br /&gt;
*Anthony Daniels. &amp;quot;Booker vs. Goncourt; or, When Silence Is a Duty.&amp;quot; New Criterion 22.5 (Jan. 2004): 24-27. [http://www.newcriterion.com/articles.cfm/Booker-vs--Goncourt--or--when-silence-is-a-duty-1601]&lt;br /&gt;
*The Sunday Times, Pick of the week, &amp;quot;Vernon God Little by D B C Pierre&amp;quot;, Trevor Lewis, May 2, 2004&lt;br /&gt;
*Katsuaki Watanabe. Bukkā-shō to sumōrutaun Tekisasu. Eigo Seinen/Rising Generation 150.3 (June 2004): p162.&lt;br /&gt;
*[http://www.independent.co.uk/arts-entertainment/books/features/independent-book-group-vernon-god-little-by-dbc-pierre-6168494.html The Independent, &amp;quot;Vernon God Little, by DBC Pierre&amp;quot;, Boyd Tonkin, Literary Editor, Friday, 4 June 2004] (321 words, book group review)&lt;br /&gt;
*The Independent, &amp;quot;Not worthy of a Booker win, but one of a kind&amp;quot;, John Walsh, Friday, 2 July 2004 (book group review)&lt;br /&gt;
*Norment, Lee. &amp;quot;A boy in trouble.&amp;quot; Texas Books in Review 24.2-3 (2004): 23. Literature Resource Center. Web. 11 Mar. 2012.&lt;br /&gt;
*Havely, Cicely Palser. &amp;quot;Vernon God Little by DBC Pierre: Vernon God Little was the winner of the 2003 Man Booker Prize. Although its author is not American, this intricate and disturbing novel can be compared with many American classics. Cicely Palser Havely suggests you read it while it is still fresh.&amp;quot; The English Review Sept. 2004: 16+. Literature Resource Center. Web. 11 Mar. 2012.&lt;br /&gt;
*Gillian Fenwick. &amp;quot;Vernon God Little, by DBC Pierre.&amp;quot; Booker Prize Novels: 1969-2005. Ed. Merritt Moseley. Detroit, MI: Gale, 2006. 342-347. Dictionary of Literary Biography  326. &lt;br /&gt;
*[http://www.guardian.co.uk/books/2006/nov/18/featuresreviews.guardianreview17 John Mullan, &amp;quot;Talk this way&amp;quot;, The Guardian, Saturday 18 November 2006] (661 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2006/nov/25/featuresreviews.guardianreview1?INTCMP=ILCNETTXT3487 John Mullan, &amp;quot;National lampoon&amp;quot;, The Guardian, Saturday 25 November 2006] (730 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2006/dec/02/featuresreviews.guardianreview2 John Mullan, &amp;quot;Trial &amp;amp; error&amp;quot;, The Guardian, Saturday 2 December 2006] (791 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2006/dec/09/featuresreviews.guardianreview1?INTCMP=ILCNETTXT3487 John Mullan, &amp;quot;Poetic justification&amp;quot;, The Guardian, Saturday 9 December 2006] (784 words)&lt;br /&gt;
*Maria De Pilar Blanco. &amp;quot;DBC Pierre&amp;#039;s Blood Meridian: Cosmopolitan Returns and the Imagination of History.&amp;quot; Symbiosis: A Journal of Anglo-American Literary Relations 11.1 (Apr. 2007): p59-74.&lt;br /&gt;
*Göran Nieragden. &amp;quot;Thank You, Holden Caulfield, and Goodbye: Fresh Ideas for Teaching Adolescent(s) Fiction-the What and the How.&amp;quot; English Studies: A Journal of English Language and Literature 91.5 (Aug. 2010): 567-578.&lt;br /&gt;
*Himansu S. Mohapatra. &amp;quot;The Real within the Hyper-Real: Identity and Social Location in Vernon God Little.&amp;quot; Ravenshaw Journal of Literary and Cultural Studies 1.1 (Winter 2011): 67-77. [http://ravenshawuniversity.ac.in/File/RJLCS%202011.pdf]&lt;br /&gt;
&lt;br /&gt;
  &lt;br /&gt;
&amp;#039;&amp;#039;&amp;#039;Criticism of CI&amp;#039;&amp;#039;&amp;#039;&lt;br /&gt;
*The Independent, 20 Jul 2002, the Literator, &amp;quot;Cover Stories&amp;quot;. (short)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2002/jul/20/featuresreviews.guardianreview23 The Guardian, 20 Jul 2002, Nicholas Clee, &amp;quot;The Bookseller&amp;quot;.] (103 words, short on cross-over)&lt;br /&gt;
*[http://www.guardian.co.uk/film/2002/aug/01/news Guardian co.uk, 1 Aug 2002, Staff and Agencies, &amp;quot;Brad Pitt seeks rights to British novel&amp;quot;.] (125 words, short on film)&lt;br /&gt;
*[http://news.google.com/newspapers?nid=1309&amp;amp;dat=20030428&amp;amp;id=FUAhAAAAIBAJ&amp;amp;sjid=Y3sFAAAAIBAJ&amp;amp;pg=3379,5946377 The Times, 23 Apr 2003, Douglas Kennedy, &amp;quot;The Spectrum Within&amp;quot;.] (review)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2003/apr/27/fiction.guardianchildrensfictionprize2003 The Observer, 27 Apr 2003, Kate Kellaway, &amp;quot;Autistic Differences&amp;quot;.] (1960 words, interview-review)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2003/may/10/featuresreviews.guardianreview34 The Guardian, 10 May 2003, Nicholas Clee, &amp;quot;The Bookseller&amp;quot;.] (114 words, short)&lt;br /&gt;
*[http://www.spectator.co.uk/print/politics/all/20554/much-more-than-a-handful.thtml The Spectator, 17 May 2003, Nicholas Barrow, &amp;quot;It Ain&amp;#039;t Necessarily So&amp;quot;.] (105 words, review)&lt;br /&gt;
*The Sunday Times, 18 May 2003, Hugo Barnacle, &amp;quot;The Curious Incident of the Dog in the Night-time by mark Haddon&amp;quot;. (review)&lt;br /&gt;
*[http://www.telegraph.co.uk/culture/books/3594833/The-boy-who-could-not-tell-a-lie.html The Telegraph, 20 May 2003, Carol Ann Duffy, &amp;quot;The Boy Who Could Not Tell a Lie&amp;quot;.] (697 words, review)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2003/may/24/booksforchildrenandteenagers.bookerprize2003 The Guardian, 24 May 2003, Charlotte Moore, &amp;quot;Just the facts, ma&amp;#039;am&amp;quot;.] (571 words, review)&lt;br /&gt;
*The Independent, 6 Jun 2003, Christopher Fowler, &amp;quot;The Curious Incident of the Dog in the Night-Time by Mark Haddon&amp;quot;. (summer fiction review)&lt;br /&gt;
*[http://www.salon.com/2003/06/12/haddon/ Salon.com, 12 Jun 2003, Laura Miller, &amp;quot;&amp;#039;The Curious Incident of the Dog in the Time&amp;#039; by Mark Haddon&amp;quot;.] (757 words)&lt;br /&gt;
*[http://www.nytimes.com/2003/06/13/books/books-of-the-times-math-and-physics-a-cinch-people-incomprehensible.html?pagewanted=all&amp;amp;src=pm The New York Times, 13 Jun 2003, Michiko Kakutani, &amp;quot;Math and Physics? A Cinch. People? Incomprehensible.&amp;quot;] (795 words, review)&lt;br /&gt;
*[http://www.nytimes.com/2003/06/15/books/the-remains-of-the-dog.html?pagewanted=all&amp;amp;src=pm The New York Times Book Review, 15 Jun 2003, Jay McInerney, &amp;quot;The Remains of the Dog&amp;quot;, 108:5.] (1076 words, review)&lt;br /&gt;
*[http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/06/22/RV175562.DTL SFGate.com, 22 Jun 2003, Kate Washington, &amp;quot;Detached Detective: Autistic Teen Sets Out to Solve a Mystery, Finds Much More&amp;quot;.] (789 words, review)&lt;br /&gt;
*[http://www.villagevoice.com/2003-07-22/books/auto-focus/ The Village Voice, 22 July 2003, Dennis Lim, &amp;quot;Auto Focus: Strange Ways, Here We Come&amp;quot;.] (1169 words, review)&lt;br /&gt;
*[http://www.newyorker.com/archive/2003/08/04/030804crbn_brieflynoted3 &amp;quot;The Curious Incident of the Dog in the Night-Time by Mark Haddon, The New Yorker&amp;quot;, August 4, 2003] (157 words)&lt;br /&gt;
*[http://www.washingtonpost.com/ac2/wp-dyn?pagename=article&amp;amp;node=&amp;amp;contentId=A31894-2003Aug7 The Washington Post, 10 Aug 2003, Nani Power, &amp;quot;Feeling His Way&amp;quot;.] (902 words, review)&lt;br /&gt;
*[http://www.lrb.co.uk/v25/n19/eleanor-birne/doing-chatting Eleanor Birne, &amp;quot;Doing Chatting&amp;quot;, London Review of Books 25. 19 (9 October 2003): 14] (2199 words)&lt;br /&gt;
*[http://mathdl.maa.org/mathDL/19/?pa=reviews&amp;amp;sa=viewBookPF&amp;amp;bookId=68360 Maria G. Fung, &amp;quot;The Curious Incident of the Dog in the Night-time.&amp;quot; Mathematical Association of America, 12.12.2003]&lt;br /&gt;
*[http://www.guardian.co.uk/books/2004/jan/29/whitbreadbookawards2003.costabookaward Guardian, &amp;quot;A journey to shock and enlighten&amp;quot;, William Schofield, Thursday 29 January 2004] (540 words, paperback review)&lt;br /&gt;
*The Sunday Times, 28 Mar 2004, Alex Clark, &amp;quot;Pick of the Week: The Curious Incident of the Dog in the Night-time by Mark Haddon&amp;quot;. (paperback review)&lt;br /&gt;
*The Independent, 28 Mar 2004, Murrough O&amp;#039;Brien, &amp;quot;The Curious Incident of the Dog in the Night-Time by Mark Haddon&amp;quot;. (paperback review)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2004/apr/24/fiction.markhaddon John Mullan, &amp;quot;Through Innocent Eyes&amp;quot;, The Guardian, 24 Apr 2004] (685 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2004/may/01/featuresreviews.guardianreview28 John Mullan, &amp;quot;Expletives Not Deleted&amp;quot;, The Guardian, 1 May 2004] (701 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2004/may/08/markhaddon John Mullan, &amp;quot;Letters Patent&amp;quot;, The Guardian, 8 May 2004] (703 words)&lt;br /&gt;
*[http://www.guardian.co.uk/books/2004/may/15/fiction.markhaddon John Mullan, &amp;quot;Funny Old World&amp;quot;, The Guardian, 15 May 2004] (680 words)&lt;br /&gt;
*[http://www.ams.org/notices/200603/rev-aslaksen.pdf Helmer Aslaksen, &amp;quot;The Curious Incident of the Dog in the Night-time&amp;quot;. American Mathematical Society 53.3 (Mar 2006): 343-345.]&lt;br /&gt;
*Vivienne Muller. Constituting Christopher: Disability Theory and Mark Haddon&amp;#039;s The Curious Incident of the Dog in the Night-Time. Papers: Explorations into Children&amp;#039;s Literature 16.2 (Dec. 2006): 118-125.&lt;br /&gt;
*Andrej Adam. Epistemološki problem v knjigi skrivnostni primer li kdo je umoril psa. Otrok in Knjiga/The Child and Book: Revija za Vprašanja Mladinske Književnosti, Knjiz1707evne Vzgoje in s Knjigo Povezanih Medijev/The Journal of Issues Relating to Children&amp;#039;s Literature, Literary Education and the Media Connected with Books 68 (2007): 34-45.&lt;br /&gt;
*Clare Walsh and John McRae. Schema Poetics and Crossover Fiction. Contemporary Stylistics. Ed. Marina Lambrou and Peter Stockwell. London, England: Continuum, 2007. 106-117.&lt;br /&gt;
*Caroline Marie and Christelle Reggiani. Portrait of the Artist as a Mathematician. Journal of Romance Studies 7.3 (Winter 2007): p101-10.&lt;br /&gt;
*James Berger. Aleterity and Autism: Mark Haddon&amp;#039;s Curious Incident in the Neurological Spectrum. Autism and Representation. Ed. Mark Osteen. New York, NY: Routledge, 2008. 271-288.&lt;br /&gt;
*Chris Richards. Forever Young: Essays on Young Adult Fictions. New York, NY: Peter Lang, 2008. Intersections in Communications and Culture: Global Approaches and Transdisciplinary Perspectives  20.  New York, NY.&lt;br /&gt;
*Gyasi Burks-Abbott. Mark Haddon&amp;#039;s Popularity and the Curious Incidents in My Life as an Autistic. Autism and Representation. Ed. Mark Osteen. New York, NY: Routledge, 2008. p289-296.&lt;br /&gt;
*Alana M. Vincent. Putting Away Childish Things: Incidents of Recovery in Tolkien and Haddon. Mythlore: A Journal of J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 26.3-4 [101-102] (Spring-Summer 2008): p101-116.&lt;br /&gt;
*Stephan Freißmann. A Tale of Autistic Experience: Knowing, Living, Telling in Mark Haddon&amp;#039;s The Curious Incident of the Dog in the Night-Time. Partial Answers: Journal of Literature and the History of Ideas 6.2 (June 2008): p395-417.  Word Count: 151.&lt;br /&gt;
*Till Kinzel and Bianca Schwindt. Mark Haddons The Curious Incident of the Dog in the Night-Time als Lektüre in der Sekundarstufe I. Literaturdidaktik und Literaturvermittlung im Englischunterricht der Sekundarstufe I. Ed. Jan Hollm. Trier, Germany: Wissenschaftlicher, 2009. 157-168.&lt;br /&gt;
*Stefania Ciocia. Postmodern Investigations: The Case of Christopher Boone in The Curious Incident of the Dog in the Night-Time. Children&amp;#039;s Literature in Education: An International Quarterly 40.4 (Dec. 2009): 320-332.&lt;br /&gt;
*Nicola Allen. &amp;#039;The Perfect Hero for His Age&amp;#039;: Christopher Boone and the Role of Logic in the Boy Detective Narrative. The Boy Detectives: Essays on the Hardy Boys and Others. Ed. Michael G. Cornelius. Jefferson, NC: McFarland, 2010. 167-179.&lt;br /&gt;
*Milda Danytė. Tarp teksto ir vaizdo: Šiuolaikinio iliustruoto romano pavyzdžiai. Acta Humanitarica Universitatis Saulensis 11 (2010): 81-90.&lt;br /&gt;
*Christiana Gregoriou. The Poetics of Deviance and the Curious Incident of the Dog in the Night-Time. The Millennial Detective: Essays on Trends in Crime Fiction, Film and Television, 1990-2010. Ed. Malcah Effron and Stephen Knight. Jefferson, NC: McFarland, 2011. 97-111.&lt;/div&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
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