Originally published in 1981. The meaning and objectives of literature, argues David Bleich, are created by the reader, who depends on community consensus to validate his or her judgements. Bleich proposes that the study of English be consciously reoriented from a knowledge-finding to a knowledge-making enterprise. This involves a new explanation of language acquisition in childhood, a psychologically disciplined concept of linguistic and literary response, and a recognition of the intellectual authority of pedagogical communities to originate and establish knowledge. Amplifying his theoretical model with subjective responses drawn from his own classroom experience, Bleich suggests ways in which the study of language and literature can become more fully integrated with each person's responsibility for what he or she knows.

In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.

The New York Times film critic shows why we need criticism now more than ever Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual critics--himself included--can make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence. Using his own film criticism as a starting point--everything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated Ratatouille--Scott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."

Robert J. Howell offers a new account of the relationship between conscious experience and the physical world, based on a neo-Cartesian notion of the physical and careful consideration of three anti-materialist arguments. His theory of subjective physicalism reconciles the data of consciousness with the advantages of a monistic, physical ontology.

A critical reassessment of the methods of Latin textual criticism and editing, in a form accessible to non-specialists.