F. R. Leavis

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Leavis, F. R.

(Frank Raymond Leavis) (lē`vĭs), 1895–1978, English critic and teacher. Leavis was one of the most influential literary critics of the 20th cent. A formidable controversialist, he combined close textual analysis with a commitment to moral seriousness and provided a carefully constructed canon of worthwhile recent English literature. His works include New Bearings in English Poetry (1932), The Great Tradition (1948), The Common Pursuit (1952), D. H. Lawrence, Novelist (1955), and Anna Karenina and Other Essays (1968). He was editor and cofounder of the influential quarterly Scrutiny from 1932 until its demise in 1953. From 1936 to 1962, Leavis was a fellow at Downing College, Cambridge. He excoriated "mass culture" in his writings on education and society: Mass Civilization and Minority Culture (1930), Education and the University (1943), and English Literature in Our Time and the University (1969). Nor Shall My Sword: Discourses on Pluralism, Compassion and Social Hope (1972) was a collection of lectures. He was married to Q. D. LeavisLeavis, Q. D.
(Queenie Dorothy Leavis), 1906–81, British literary critic; wife of F. R. Leavis. After studying at Cambridge, she wrote Fiction and the Reading Public (1932), which analyzed the market for different types of fiction among readers).
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See studies by F. Mulhern (1978), and F. P. Bilan (1979).

References in periodicals archive ?
Their travel narratives were ill suited to the project of nation-narration Mount describes as closely linked to the professionalization of CanLit, and their straightforward, unadorned prose was unsuited to Leavisite values as they later emerged in the discipline of English and Canadian literatures.
30) For Rickword, as for Lindsay and other radicalised popular front intellectuals, widely shared Leavisite perceptions about the fragmentation of a cohesive common culture in the context of modern, industrial societies were now incorporated into an explicitly Marxist narrative about shifts in modes of production.
As a result, the critics are able to show that Byatt's intertextual melange is a form of "critical storytelling" in and of itself, not just an ambivalent form of postmodernity produced by a reluctant Leavisite.
Ngugi's concern with the relationship between literature and the educational system is, according to Gikandi, a symptom of his inability to overcome the ideology embedded in the Arnoldian and Leavisite basis of his formal education at Alliance High School and Makerere University: "[w]hile the gist of Ngugi's essays on the teaching of literature in the postcolony was his critique of the continuing hegemony of English in Kenya schools, he was not troubled by the fact that his view that literature reflected 'the life of a people' in words and images was, in effect, an endorsement of colonial Englishness" (GIKANDI, 2000, p.
I was what was called a Leavisite, and if you know Leavis, I was taught by F.
Unapologetically Leavisite and patronizing in his conception of a "common reader," Kiberd seeks a reader who is an "amateur," is seemingly "innocent" and "naive" in interpretation, has an "ordinary" job and needs a piece of "wisdom literature," such as Ulysses, to learn how to sanctify and get the most out of everyday life.
The English Department was the last bastion of Leavisite orthodoxy, as I discovered when I gave a paper dismissing the very idea of a Great Tradition of English literature.
It is interesting to compare the liberal humanist or the Leavisite criticism before the flowering of this decentered theory and criticism in the West with what is being said about the tradition of Rumi here.
In a delightfully vicious send-up of a Leavisite academic article, Ethan Coen, writing in the introduction to the published screenplay of Big Lebowski as "Sir Anthony Forte-Bowell [.
You will be happy to know that he thought it was worth watching, but it is almost impossible for me to describe the earnestness, the pain, the visible writhings of his moral and intellectual conscience (this was the approved Leavisite style of operation) with which he made the case for what was after all just a movie, but one which he painstakingly placed in an intermedia, interdisciplinary summum bonum, summa cum laude canon-to-end-all-canons trinity of ultimate greatness along with Plato's Symposium and Mozart's Cosi fan tutte.
The lost object of the literary text--or the literature-and-philosophy principle that later emerged as "theory," to use Redfield's terms--did function to conceal its nationalist operations through the fantasy of Leavisite culture surrounding it in earlier times.
The themes (traditionally understood) in Lawrence that form the subject matter of the first three chapters inform the reader through a conventional close reading, but with little deployment of any critical paradigm or concepts, so much so that I could imagine myself as an undergraduate once again, reading Lawrence at a red-brick Leavisite department in the 1970s.