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).

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References in periodicals archive ?
Cormack is on sturdier ground when he examines the impact of earlier English novelists on the formation of McEwan's novel, arguing convincingly that F.R. Leavis, especially in The Great Tradition (1948), exercises an important influence.
Bradley and F.R. Leavis seem to take on the perspectives of Othello and Iago, respectively, in their reading of Othello.
Snow, the sort of person Spengler called a "progress-philistine," enjoyed overwhelming support in his Two Cultures dispute with the prophetic F.R. Leavis. None of this, alas, is going to make Man and Technics any more interesting to today's readers.
According to F.R. Leavis, who charges the novella for its unapologetic insistence on trying to say what it cannot say, the heads on stakes form an exception to its rule of vagueness: "an essential vibration emanates" from particular details, forming "a legitimate kind of comment," evoked with "charged concreteness" (176)--"a direct significant glimpse" (177).
After studying with F.R. Leavis at Cambridge and working for the British Film Institute, he came home to Canada to found one of the first film programmes in the country at Queen's University in Kingston in 1969.
As an A-level English pupil, Phillips was taught by a former student of F.R. Leavis. Having taken little interest in reading until then, he became a convert to English literature.
But events don't matter all that much in this story, except to keep straight the colleges and universities where the author is studying with so many of the notable teachers of the times: Mark Van Doren, Lionel Trilling, Quentin Anderson and Peter Gay at Columbia; F.R. Leavis and John Newton at Cambridge; and R.W.B.
In a curious turn in Paik's devaluation of theoretical frameworks is that he viewed F.R. Leavis's thought as his closest theoretical companion, sympathizing with his view of criticism as a political act performed by endless readings, and sharing with him the sense of the importance of critical evaluation and the critic's role in forming a literary tradition.
(2) F.R. Leavis, The Great Tradition, Pelican 1972 (1948); I.A.
He begins with Aristotle's theory of catharsis and moves on all the way from Horace to Hegel, Karl Max, Bertolt Brecht, F.R. Leavis, and quite significantly to Emmanuel Levinas, whose ethical philosophy about Self and Other servers as the a theoretical door-opener in literary disputes about moral questions.