John Fekete and Moral Panic

John Fekete's Moral Panic incorporates three distinct literary genres: it is at once a jeremiad, a martyrology, and (somewhat less obviously) the testament of a strong cultural theorist fallen among neoconservatives. My own reactions to the book are no less multiple: they include respect, exasperation, and (since I remain an admirer of Fekete's previous work) a certain sadness. 

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Political Correctness

Is something seriously wrong with the humanities departments of our universities? In 1987 Allan Bloom's The Closing of the American Mind set out to tell us, in the lurid wording of its subtitle, “How Higher Education Has Failed Democracy and Impoverished the Souls of Today's Students.” Similar messages have been repeated with increasing vehemence in books like Roger Kimball's Tenured Radicals and Dinesh D'Souza's Illiberal Education [...].

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Reinventing New Criticism?

In his poem “La Torre,” Charles Olson remarked that “The end of something has a satisfaction, / When the structures go, light / comes through....” This collection of essays, which arose out of a symposium held in 1982 at the University of Toronto, is presented by its editors as offering (along with other pleasures) a measure of this kind of satisfaction. 

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Theorizing Shakespeare

[I]f the study of Shakespeare and his contemporaries remains to any faint degree an Arcadian realm, it is no longer one characterized by a Theocritan nostalgia for past delights, or a Tillyardian nostalgia for departed orthodoxies, but rather such an Arcadia as Sir Philip Sidney imagined—delightful still, yet traversed by violent oppositions, and open to subversion from within and invasion from without.

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Text, Apparatus, History

One of the oddest pieces of Shakespearean commentary written during the past century is an extended dialogue by one William Bliss, published in 1947, which contains on its first page an urbane denunciation of Shakespearean commentators as “the ultimate nadir of human foolishness." If in this regard the book invites description as a self-subverting artifact, in other respects as well it is a thoroughly paradoxical performance. 

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