Benedetto Croceas influence pervades Anglo-Saxon culture, but, ironically, before Giovanni Gullace heeded the call of his colleagues and provided this urgently needed translation of La Poesia, speakers of English had no access to Croceas major work and final rendering of his esthetic theory. Aesthetic, published in 1902 and translated in 1909, represents most of what the English-speaking world knows about Croceas theory. It is, asserts Gullace, ano more than a first sketch of a thought that developed, clarified, and corrected itself through new literary experience and more mature reflection.a During the 34 years between Aesthetic and La Poesia (1936), for example, Croce added a striking new element to his thought: the analysis of prose literature. Gullaceas introduction to La Poesia constitutes a major underAstaking in its own right. It is aimed at acquainting the reader with the evolution of Croceas thought and at explaining the relationAsship between this final work and the philosopheras previous work in esthetic theory and literary criticism. La Poesia is divided into two parts, text and postscripts. The text consists of four chapters: Poetry and Literature; The Life of Poetry; Criticism and History of Poetry; and The Formation of the Poet and the Precepts. Croce saw the postscripts aas a reAslaxed conversation after the tension of theoretical exposition. In Gullaceas translation the text and relevant postscripts appear conveniently side by side in a double column. Gullace has annoAstated both text and postscripts.And if it does not lend itself to this, because it is poetry pure and simple, one hears the observation that aquot;there is no ... that most readers, when they think that they are admiring poetry, are deceived by their inability to analyze their sensations, anbsp;...
|Title||:||Benedetto Croce's Poetry and literature|
|Author||:||Benedetto Croce, Giovanni Gullace|
|Publisher||:||Southern Illinois University - 1981-09-01|