Western canon

The Western canon is the body of Western literature, European classical music, philosophy, and works of art that represents the high culture of Europe and North America: "a certain Western intellectual tradition that goes from, say, Socrates to Wittgenstein in philosophy, and from Homer to James Joyce in literature".[1] The word canon is derived from ancient Greek κανών, kanṓn, meaning a measuring rod, or standard. The Bible, a product of ancient Jewish culture, from western Asia, has been a major force in shaping Western culture, and "has inspired some of the great monuments of human thought, literature, and art".[2]

The canon of books has been fairly stable, although it has expanded to include more women and racial minorities, while the canons of music and the visual arts have greatly expanded to cover the Middle Ages and subsequent centuries once largely overlooked. But some examples of newer media such as cinema have attained a precarious position in the canon. Also during the twentieth century there has been a growing interest in the West as well as globally, in major works, both in literature and in the other arts, of the cultures of Asia, Africa, the Middle East, and South America and the former colonies of European countries.

There has been an ongoing debate internationally, over the nature and status of the canon since at least the 1960s, much of which is rooted in critical theory, feminism, critical race theory, and Marxism.[3] In particular, postmodern studies have argued that the body of scholarship is biased because the traditional main focus of academic studies of Western culture and history has only been on works produced by Western men.

Parnaso 09
Dante, Homer and Virgil in Raphael's Parnassus fresco (1511), key figures in the Western canon

A classic

Mona Lisa, by Leonardo da Vinci, from C2RMF retouched
In painting, the Mona Lisa by Leonardo da Vinci, c. 1503–1506, is the archetypal masterpiece, though it was not produced for admission to a guild or academy.

A classic is a book, or any other work of art, accepted as being exemplary or noteworthy, for example through an imprimatur such as being listed in a list of great books, or through a reader's personal opinion. Although the term is often associated with the Western canon, it can be applied to works of literature, music and art, etc. from all traditions, such as the Chinese classics or the Vedas. A related word is masterpiece or chef d'œuvre, which in modern use refers to a creation that has been given much critical praise, especially one that is considered the greatest work of a person's career or to a work of outstanding creativity, skill, or workmanship. Historically, the word refers to a work of a very high standard produced in order to obtain membership of a Guild or Academy.

The first writer to use the term "classic" was Aulus Gellius, a 2nd-century Roman writer who, in the miscellany Noctes Atticae (19, 8, 15), refers to a writer as a classicus scriptor, non proletarius ("A distinguished, not a commonplace writer"). Such classification began with the Greeks' ranking their cultural works, with the word canon (ancient Greek κανών, kanṓn: "measuring rod, standard"). Moreover, early Christian Church Fathers used canon to rank the authoritative texts of the New Testament, preserving them, given the expense of vellum and papyrus and mechanical book reproduction, thus, being comprehended in a canon ensured a book's preservation as the best way to retain information about a civilization.[4] Contemporarily, the Western canon defines the best of Western culture. In the ancient world, at the Alexandrian Library, scholars coined the Greek term Hoi enkrithentes ("the admitted", "the included") to identify the writers in the canon.

Literary canon

Classic book

With regard to books, what makes a book "classic" has concerned various authors, from Mark Twain to Italo Calvino, and questions such as "Why Read the Classics?", and "What Is a Classic?" have been considered by others, including Calvino, T. S. Eliot, Charles Augustin Sainte-Beuve, Michael Dirda, and Ezra Pound.

The terms "classic book" and Western canon are closely related concepts, but are not necessarily synonymous. A "canon" is a list of books considered to be "essential", and it can be published as a collection (such as Great Books of the Western World, Modern Library, Everyman's Library, or Penguin Classics), presented as a list with an academic's imprimatur (such as Harold Bloom's,[5]) or be the official reading list of a university.

Some of the writers who are generally considered the most important in Western literature are Homer, Aeschylus, Sophocles, Euripides, Aristophanes, Virgil, Horace, Ovid, Geoffrey Chaucer, Dante Alighieri, William Shakespeare, François Rabelais, Jean Racine, Molière, Miguel de Cervantes, Michel de Montaigne, Lope de Vega, John Milton, Samuel Johnson, Johann Wolfgang von Goethe, William Wordsworth, Jane Austen, Stendhal, Ivan Turgenev, Walt Whitman, Gustave Flaubert, Emily Dickinson, Honoré de Balzac, Charles Dickens, Herman Melville, George Eliot, Leo Tolstoy, Henrik Ibsen, Sigmund Freud, Fyodor Dostoyevsky, Marcel Proust, Anton Chekhov, Thomas Mann, James Joyce, Virginia Woolf, Franz Kafka, T. S. Eliot, William Faulkner, Mikhail Bulgakov, Jorge Luis Borges, Pablo Neruda, Vladimir Nabokov, Fernando Pessoa, Albert Camus and Samuel Beckett.[6][7]

Harold Bloom has divided the body of Western Literature into four ages[8]:

  • The Chaotic Age (1900–today), which includes a multitude of countries and authors.[8]

Great Books Program

A university or college Great Books Program is a program inspired by the Great Books movement begun in the United States in the 1920s by Prof. John Erskine of Columbia University,[9] which proposed to improve the higher education system by returning it to the western liberal arts tradition of broad cross-disciplinary learning. These academics and educators included Robert Hutchins, Mortimer Adler, Stringfellow Barr, Scott Buchanan, Jacques Barzun, and Alexander Meiklejohn. The view among them was that the emphasis on narrow specialization in American colleges had harmed the quality of higher education by failing to expose students to the important products of Western civilization and thought.

The essential component of such programs is a high degree of engagement with primary texts, called the Great Books. The curricula of Great Books programs often follow a canon of texts considered more or less essential to a student's education, such as Plato's Republic, or Dante's Divine Comedy. Such programs often focus exclusively on Western culture. Their employment of primary texts dictates an interdisciplinary approach, as most of the Great Books do not fall neatly under the prerogative of a single contemporary academic discipline. Great Books programs often include designated discussion groups as well as lectures, and have small class sizes. In general students in such programs receive an abnormally high degree of attention from their professors, as part of the overall aim of fostering a community of learning.

Over 100 institutions of higher learning, mostly in the United States, offer some version of a Great Books Program as an option for students.[10]

Debate

There has been an ongoing debate, especially in the US, over the nature and status of the canon since at least the 1960s, much of which is rooted in critical theory, feminism, critical race theory, and Marxism.[3] In particular, postmodern studies have argued that the body of scholarship is biased, because the main focus traditionally of the academic studies of history and Western culture has only been on Europe and men. American philosopher Jay Stevenson argues:

[In] the postmodern period […] [t]raditional literature has been found to have been written by "dead white males" to serve the ideological aims of a conservative and repressive Anglo hegemony […] In an array of reactions against the race, gender, and class biases found to be woven into the tradition of Anglo lit, multicultural writers and political literary theorists have sought to expose, resist, and redress injustices and prejudices.[11]

Classicist Bernard Knox made direct reference to this topic when he delivered his 1992 Jefferson Lecture (the U.S. federal government's highest honor for achievement in the humanities).[12] Knox used the intentionally "provocative" title "The Oldest Dead White European Males"[13] as the title of his lecture and his subsequent book of the same name, in both of which Knox defended the continuing relevance of classical culture to modern society.[14][15]

Some intellectuals have championed a "high conservative modernism" that insists that universal truths exist, and have opposed approaches that deny the existence of universal truths.[16] Many argued that "natural law" was the repository of timeless truths.[17] Allan Bloom, in his highly influential The Closing of the American Mind: How Higher Education Has Failed Democracy and Impoverished the Souls of Today's Students (1987) argues that moral degradation results from ignorance of the great classics that shaped Western culture. Bloom further comments: "But one thing is certain: wherever the Great Books make up a central part of the curriculum, the students are excited and satisfied."[18] His book was widely cited by some intellectuals for its argument that the classics contained universal truths and timeless values which were being ignored by cultural relativists.[19][20] Yale University Professor of Humanities and famous literary critic Harold Bloom (no relation) has also argued strongly in favor of the canon, in his 1994 book The Western Canon: The Books and School of the Ages, and in general the canon remains as a represented idea in many institutions,[1] though its implications continue to be debated.

Defenders maintain that those who undermine the canon do so out of primarily political interests, and that such criticisms are misguided and/or disingenuous. As John Searle, Professor Emeritus of Philosophy at the University of California, Berkeley, has written:

There is a certain irony in this [i.e., politicized objections to the canon] in that earlier student generations, my own for example, found the critical tradition that runs from Socrates through the Federalist Papers, through the writings of Mill and Marx, down to the twentieth century, to be liberating from the stuffy conventions of traditional American politics and pieties. Precisely by inculcating a critical attitude, the "canon" served to demythologize the conventional pieties of the American bourgeoisie and provided the student with a perspective from which to critically analyze American culture and institutions. Ironically, the same tradition is now regarded as oppressive. The texts once served an unmasking function; now we are told that it is the texts which must be unmasked.[1]

One of the main objections to a canon of literature is the question of authority; who should have the power to determine what works are worth reading? Searle's rebuttal suggests that "one obvious difficulty with it [i.e., arguments against hierarchical ranking of books] is that if it were valid, it would argue against any set of required readings whatever; indeed, any list you care to make about anything automatically creates two categories, those that are on the list and those that are not."[1]

Charles Altieri, of the University of California, Berkeley, states that canons are "an institutional form for exposing people to a range of idealized attitudes." It is according to this notion that work may be removed from the canon over time to reflect the contextual relevance and thoughts of society.[21] American historian Todd M. Compton argues that canons are always communal in nature; that there are limited canons for, say a literature survey class, or an English department reading list, but there is no such thing as one absolute canon of literature. Instead, there are many conflicting canons. He regards Bloom's "Western Canon" as a personal canon only.[22]

The process of defining the boundaries of the canon is endless. The philosopher John Searle has said, "In my experience there never was, in fact, a fixed 'canon'; there was rather a certain set of tentative judgments about what had importance and quality. Such judgments are always subject to revision, and in fact they were constantly being revised."[1] One of the notable attempts at compiling an authoritative canon for literature in the English-speaking world was the Great Books of the Western World program. This program, developed in the middle third of the 20th century, grew out of the curriculum at the University of Chicago. University president Robert Maynard Hutchins and his collaborator Mortimer Adler developed a program that offered reading lists, books, and organizational strategies for reading clubs to the general public. An earlier attempt had been made in 1909 by Harvard University president Charles W. Eliot, with the Harvard Classics, a 51-volume anthology of classic works from world literature. Eliot's view was the same as that of Scottish philosopher and historian Thomas Carlyle: "The true University of these days is a Collection of Books". ("The Hero as Man of Letters", 1840)

In the English-speaking world

British renaissance poetry

The canon of Renaissance English poetry of the 16th and early 17th century has always been in some form of flux and towards the end of the 20th century the established canon was criticized, especially by those who wished to expand it to include, for example, more women writers.[23] However, the central figures of the British renaissance canon remain, Edmund Spenser, Sir Philip Sidney, Christopher Marlowe, William Shakespeare, Ben Jonson, and John Donne.[24] Spenser, Donne, and Jonson were major influences on 17th-century poetry. However, poet John Dryden condemned aspects of the metaphysical poets in his criticism. In the 18th century Metaphysical poetry fell into further disrepute,[25] while the interest in Elizabethan poetry was rekindled through the scholarship of Thomas Warton and others. However, the canon of Renaissance poetry was formed in the Victorian period with anthologies like Palgrave's Golden Treasury.[26]

In the twentieth century T. S. Eliot and Yvor Winters were two literary critics who were especially concerned with revising the canon of renaissance English literature. Eliot, for example, championed poet Sir John Davies in an article in The Times Literary Supplement in 1926. During the course of the 1920s, Eliot did much to establish the importance of the metaphysical school, both through his critical writing and by applying their method in his own work. However, by 1961 A. Alvarez was commenting that "it may perhaps be a little late in the day to be writing about the Metaphysicals. The great vogue for Donne passed with the passing of the Anglo-American experimental movement in modern poetry."[27] Two decades later, a hostile view was expressed that emphasis on their importance had been an attempt by Eliot and his followers to impose a 'high Anglican and royalist literary history' on 17th-century English poetry.[28]

The American critic Yvor Winters suggested in 1939 an alternative canon of Elizabethan poetry,[29] which would exclude the famous representatives of the Petrarchan school of poetry, represented by Sir Philip Sidney and Edmund Spenser. Winters claimed that the Native or Plain Style anti-Petrarchan movement had been undervalued and argued that George Gascoigne (1525–1577) "deserves to be ranked […] among the six or seven greatest lyric poets of the century, and perhaps higher".[30]

Towards the end of the 20th century the established canon was increasingly under fire.[23]

Expansion of the literary canon in the 20th century

In the twentieth century there was a general reassessment of the literary canon, including women's writing, post-colonial literatures, gay and lesbian literature, writing by people of colour, working people's writing, and the cultural productions of historically marginalized groups. This reassessment has resulted in a whole scale expansion of what is considered "literature", and genres hitherto not regarded as "literary", such as children's writing, journals, letters, travel writing, and many others are now the subjects of scholarly interest.[31][32][33]

The Western literary canon has also expanded to include the literature of Asia, Africa, the Middle East, and South America. Writers from countries like Turkey, China, Egypt, Peru, and Colombia, Japan, etc., have received Nobel prizes since the late 1960s. Writers from Asia and Africa have also been nominated for, and also won, the Booker prize in recent years.

Feminism and the literary canon

The feminist movement produced both feminist fiction and non-fiction and created new interest in women's writing. It also prompted a general reevaluation of women's historical and academic contributions in response to the belief that women's lives and contributions have been underrepresented as areas of scholarly interest.[31]

However, in Britain and America at least women achieved major literary success from the late eighteenth century, and many major nineteenth-century British novelists were women, including Jane Austen, the Brontë family, Elizabeth Gaskell, and George Eliot. There were also three major female poets, Elizabeth Barrett Browning,[34] Christina Rossetti and Emily Dickinson.[35][36] In the twentieth century there were also many major female writers, including Katherine Mansfield, Dorothy Richardson, Virginia Woolf, Eudora Welty, and Marianne Moore. Notable female writers in France include Colette and Simone de Beauvoir; and in Russia, Anna Akhmatova.

Much of the early period of feminist literary scholarship was given over to the rediscovery and reclamation of texts written by women. Virago Press began to publish its large list of 19th and early 20th-century novels in 1975 and became one of the first commercial presses to join in the project of reclamation.

Black authors

In the twentieth century, the Western literary canon started to include black writers not only from black American writers, but also from the wider black diaspora of writers in Britain, France, Latin America, and Africa. This is largely due to the shift in social and political views during the civil rights movement in the United States. The first global recognition came in 1950 when Gwendolyn Brooks was the first black American to win a Pulitzer Prize for Literature. Chinua Achebe's novel Things Fall Apart helped draw attention to African literature. Nigerian Wole Soyinka was the first African to win the Nobel Prize in Literature in 1986, and American Toni Morrison was the first black woman to win in 1993.

Some early American Black writers were inspired to defy ubiquitous racial prejudice by proving themselves equal to white American authors. As Henry Louis Gates, Jr., has said, "it is fair to describe the subtext of the history of black letters as this urge to refute the claim that because blacks had no written traditions they were bearers of an inferior culture."[37]

African-American writers were also attempting to subvert the literary and power traditions of the United States. Some scholars assert that writing has traditionally been seen as "something defined by the dominant culture as a white male activity."[37] This means that, in American society, literary acceptance has traditionally been intimately tied in with the very power dynamics which perpetrated such evils as racial discrimination. By borrowing from and incorporating the non-written oral traditions and folk life of the African diaspora, African-American literature broke "the mystique of connection between literary authority and patriarchal power."[38] In producing their own literature, African Americans were able to establish their own literary traditions devoid of the white intellectual filter. This view of African-American literature as a tool in the struggle for Black political and cultural liberation has been stated for decades, most famously by W. E. B. Du Bois.[39]

Asia and Africa

Since the 1960s the Western literary canon has been expanded to include writers from Asia, Africa, the Middle East. This is reflected in the Nobel prizes awarded in literature.

Yasunari Kawabata (1899 – 1972)[40] was a Japanese novelist and short story writer whose spare, lyrical, subtly-shaded prose works won him the Nobel Prize for Literature in 1968, the first Japanese author to receive the award. His works have enjoyed broad international appeal and are still widely read.

Naguib Mahfouz (1911 – 2006) was an Egyptian writer who won the 1988 Nobel Prize for Literature. He is regarded as one of the first contemporary writers of Arabic literature, along with Tawfiq el-Hakim, to explore themes of existentialism.[41] He published 34 novels, over 350 short stories, dozens of movie scripts, and five plays over a 70-year career. Many of his works have been made into Egyptian and foreign films.

Kenzaburō Ōe (b. 1935) is a Japanese writer and a major figure in contemporary Japanese literature. His novels, short stories, and essays, strongly influenced by French and American literature and literary theory, deal with political, social, and philosophical issues, including nuclear weapons, nuclear power, social non-conformism, and existentialism. Ōe was awarded the Nobel Prize in Literature in 1994 for creating "an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today".[42]

Guan Moye (b. 1955), better known by the pen name "Mo Yan", is a Chinese novelist and short story writer. Donald Morrison of the U.S. news magazine TIME referred to him as "one of the most famous, oft-banned and widely pirated of all Chinese writers",[43] and Jim Leach called him the Chinese answer to Franz Kafka or Joseph Heller.[44] He is best known to Western readers for his 1987 novel Red Sorghum Clan, of which the Red Sorghum and Sorghum Wine volumes were later adapted for the film Red Sorghum. In 2012, Mo was awarded the Nobel Prize in Literature for his work as a writer "who with hallucinatory realism merges folk tales, history and the contemporary".[45][46]

Orhan Pamuk (b. 1952) is a Turkish novelist, screenwriter, academic, and recipient of the 2006 Nobel Prize in Literature. One of Turkey's most prominent novelists,[47] his work has sold over thirteen million books in sixty-three languages,[48] making him the country's best-selling writer.[49] Pamuk is the author of novels including The White Castle, The Black Book, The New Life, My Name Is Red, Snow, The Museum of Innocence, and A Strangeness in My Mind. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. Born in Istanbul,[50] Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre Étranger, 2002 Premio Grinzane Cavour, and 2003 International Dublin Literary Award.

Latin America

Octavio Paz Lozano (1914 – 1998) was a Mexican poet and diplomat. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature, and the 1990 Nobel Prize in Literature.

Gabriel García Márquez[51] (1927 – 2014) was a Colombian novelist, short-story writer, screenwriter, and journalist. Considered one of the most significant authors of the 20th century and one of the best in the Spanish language, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature.[52]

García Márquez started as a journalist, and wrote many acclaimed non-fiction works and short stories, but is best known for his novels, such as One Hundred Years of Solitude (1967), The Autumn of the Patriarch (1975), and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations. Some of his works are set in a fictional village called Macondo (the town mainly inspired by his birthplace Aracataca), and most of them explore the theme of solitude. On his death in April 2014, Juan Manuel Santos, the President of Colombia, described him as "the greatest Colombian who ever lived."[53]

Mario Vargas Llosa, (b. 1936)[54] is a Peruvian writer, politician, journalist, essayist, college professor, and recipient of the 2010 Nobel Prize in Literature.[55] Vargas Llosa is one of Latin America's most significant novelists and essayists, and one of the leading writers of his generation. Some critics consider him to have had a larger international impact and worldwide audience than any other writer of the Latin American Boom.[56] Upon announcing the 2010 Nobel Prize in Literature, the Swedish Academy said it had been given to Vargas Llosa "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat".[57]

Canon of Western philosophers

The discussion of the literary canon above, especially with regard to "Great Book" and the "debate" over the canon, is also relevant.

Ancient Greek philosophy has consistently held a prominent place in the canon. Only a relatively small number of works of Greek philosophy have survived, essentially those thought most worth copying in the Middle Ages. Plato, Aristotle and, indirectly, Socrates are the primary figures. Roman philosophy is included, but regarded as less significant (as it tended to be even by the Romans themselves). The ancient philosophy of other cultures now receives more attention than before the 20th century. The vast body of Christian philosophy is typically represented on reading lists mainly by Saints Augustine of Hippo and Thomas Aquinas, and the 12th-century Jewish scholar Maimonides is now usually represented, mostly by The Guide for the Perplexed. The academic canon of early modern philosophy generally includes Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, and Kant, though influential contributions to philosophy were made by many thinkers in this period.[58]

Women have engaged in philosophy throughout the field's history. There were female philosophers since ancient times, notably Hipparchia of Maroneia (active c. 325 BC) and Arete of Cyrene (active 5th–4th century BC), and some were accepted as philosophers during the ancient, medieval, modern and contemporary eras, but almost no female philosophers have entered the philosophical Western canon.[59][60] In the early 1990s, the Canadian Philosophical Association claimed that there is gender imbalance and gender bias in the academic field of philosophy.[61] In June 2013, a US sociology professor stated that "out of all recent citations in four prestigious philosophy journals, female authors comprise just 3.6 percent of the total. While other areas of the humanities are at or near gender parity, philosophy is actually more overwhelmingly male than even mathematics."[62]

Ancient Greeks

Many philosophers today agree that Greek philosophy has influenced much of Western culture since its inception. Alfred North Whitehead once noted: "The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato."[63] Clear, unbroken lines of influence lead from ancient Greek and Hellenistic philosophers to Early Islamic philosophy, the European Renaissance, and the Age of Enlightenment.[64] Greek philosophy was probably influenced by the philosophy and mythological cosmogonies of the ancient Near East, as well as Indian Vedanta philosophy,[65][66][67] but philosophy, as we understand it, is a Greek creation."[68]

Plato was a philosopher in Classical Greece and the founder of the Academy in Athens, the first institution of higher learning in the Western world. He is widely considered the most pivotal figure in the development of philosophy, especially the Western tradition, unlike nearly all of his philosophical contemporaries.[69][70]

Aristotle was an ancient Greek philosopher and scientist. His writings cover many subjects – including physics, biology, zoology, metaphysics, logic, ethics, aesthetics, poetry, theater, music, rhetoric, linguistics, politics and government—and constitute the first comprehensive system of Western philosophy.[71] Aristotle's views on physical science had a profound influence on medieval scholarship. Their influence extended from Late Antiquity and the Early Middle Ages into the Renaissance, and his views were not replaced systematically until the Enlightenment and theories such as classical mechanics. In metaphysics, Aristotelianism profoundly influenced Judeo-Islamic philosophical and theological thought during the Middle Ages and continues to influence Christian theology, especially the Neoplatonism of the Early Church and the scholastic tradition of the Roman Catholic Church. Aristotle was well known among medieval Muslim intellectuals and revered as "The First Teacher" (Arabic: المعلم الأول‎). His ethics, though always influential, gained renewed interest with the modern advent of virtue ethics. All aspects of Aristotle's philosophy continue to be the object of active academic study today.[72]

Indian philosophy

Major Western writers and philosophers have been influenced by Eastern philosophy.

Through his teacher Ammonius Saccas (died c. AD 265, the Greek speaking philosopher Plotinus may have been influenced by Indian thought, because of the similarities between neoplatonism and the Vedanta philosophies of Hinduism.[73][74][75]

American modernist poet T S Eliot wrote that the great philosophers of India "make most of the great European philosophers look like schoolboys".[76][77] Arthur Schopenhauer, in the preface to his book The World as Will and Representation, writes that one who "has also received and assimilated the sacred primitive Indian wisdom, then he is the best of all prepared to hear what I have to say to him"[78] The 19th-century American philosophical movement Transcendentalism was also influenced by Indian thought.[79][80]

Renaissance philosophy

Major philosophers of the Renaissance include Niccolò Machiavelli, Pico della Mirandola, Nicholas of Cusa, Giordano Bruno and Galileo Galilei.

Seventeenth-century philosophers

The seventeenth century was important for philosophy, and the major figures were Francis Bacon (1561–1626), Thomas Hobbes (1588–1679), René Descartes (1596–1650), Baruch Spinoza (1632–1677), John Locke (1632–1704), Gottfried Wilhelm Leibniz (1646–1716), and Isaac Newton (1642– c.1726).[81]

Eighteenth-century philosophers

Major philosophers of the eighteenth century include George Berkeley (1685–1753), David Hume (1711–1776), Adam Smith (1723–1790), Immanuel Kant (1724–1804), Jeremy Bentham (1748–1832), Voltaire (1694–1778), Jean-Jacques Rousseau (1712–1778), and Edmund Burke (1729–1797).[81]

Nineteenth-century philosophers

Important nineteenth century philosophers include Georg Wilhelm Friedrich Hegel (1770-1831), Søren Kierkegaard (1813-1855), Karl Marx (1818–1883) and Friedrich Nietzsche (1844–1900).

Twentieth-century philosophers

Major twentieth century figures are Henri Bergson (1859–1941), Edmund Husserl (1859-1938), Bertrand Russell (1872-1970), Martin Heidegger (1889-1976) and Ludwig Wittgenstein (1889–1951). A porous distinction between analytic and continental approaches emerged during this period. The term "continental" is misleading, as many prominent British philosophers such as R. G. Collingwood and Michael Oakeshott were non-analytic, and many non-British European philosophers like Wittgenstein were analytic. Moreover, analytic approaches are dominant in the Netherlands, Scandinavia, Germany, and parts of east-central Europe today. Some argue in English-speaking countries, it is better to distinguish between the dominant approaches of university departments, where Modern Language departments tend to favor continental methods and philosophy department tends to favor analytic ones. However, the humanities/social sciences departments in general such as history, sociology, anthropology, and political science departments in English-speaking countries tend to favor continental methods such as those by Michel Foucault (1926-1984), Pierre Bourdieu (1930-2002) and Jürgen Habermas (1929- ).[82][83]

Female philosophers have begun to gain prominence in the last hundred years. Notable female philosophers from the contemporary period include Susanne Langer (1895–1985), Simone de Beauvoir (1908–1986), and Martha Nussbaum (1947– ).

Classical music

The term "classical music" did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Ludwig van Beethoven as a golden age. In addition to Bach and Beethoven, the other major figures from this period were Joseph Haydn and Wolfgang Amadeus Mozart.[84] The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.[85]

In classical music, during the nineteenth century a "canon" developed which focused on what was felt to be the most important works written since 1600, with a great concentration on the later part of this period, termed the Classical period, which is generally taken to begin around 1750. After Beethoven, the major nineteenth-century composers include Robert Schumann, Frédéric Chopin, Hector Berlioz, Franz Liszt, Richard Wagner, Johannes Brahms, Anton Bruckner, Giuseppe Verdi, Giacomo Puccini, and Pyotr Ilyich Tchaikovsky.[86]

In the 2000s, the standard concert repertoire of professional orchestras, chamber music groups, and choirs tends to focus on works by a relatively small number of mainly 18th- and 19th-century male composers. Many of the works deemed to be part of the musical canon are from genres regarded as the most serious, such as the symphony, concerto, string quartet, and opera. Folk music was already giving art music melodies, and from the late 19th century, in an atmosphere of increasing nationalism, folk music began to influence composers in formal and other ways, before being admitted to some sort of status in the canon itself.

Since the early twentieth century non-Western music has begun to influence Western composers. In particular, direct homages to Javanese gamelan music are found in works for western instruments by Claude Debussy, Béla Bartók, Francis Poulenc, Olivier Messiaen, Pierre Boulez, Benjamin Britten, John Cage, Steve Reich, and Philip Glass.[87] Debussy was immensely interested in non-Western music and its approaches to composition. Specifically, he was drawn to the Javanese Gamelan,[88] which he first heard at the 1889 Paris Exposition. He was not interested in directly quoting his non-Western influences, but instead allowed this non-Western aesthetic to generally influence his own musical work, for example, by frequently using quiet, unresolved dissonances, coupled with the damper pedal, to emulate the "shimmering" effect created by a gamelan ensemble. American composer Philip Glass was not only influenced by the eminent French composition teacher Nadia Boulanger,[89] but also by the Indian musicians Ravi Shankar and Alla Rakha, His distinctive style arose from his work with Shankar and Rakha and their perception of rhythm in Indian music as being entirely additive.[90]

In the latter half of the 20th century the canon expanded to cover the so-called Early music of the pre-classical period, and Baroque music by composers other than Bach and George Frideric Handel. including Antonio Vivaldi, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Heinrich Schütz, and Dieterich Buxtehude. Earlier composers, such as Giovanni Pierluigi da Palestrina, Orlande de Lassus and William Byrd, have also received more attention in the last hundred years.

The absence of female composers from the canon has been debated in the twentieth century, even though there have been female composers throughout the classical music period. Marcia J Citron, for example, has examined "the practices and attitudes that have led to the exclusion of women [sic] composers from the received 'canon' of performed musical works."[91] More recently the music of Hildegard von Bingen (1098–1179), a German Benedictine abbess, has been rediscovered, and both the Russian Sofia Gubaidulina (born 1931) and Finnish Kaija Saariaho (born 1952) have achieved international reputations. Saariaho's opera L'amour de loin has been staged in some of the world's major opera houses, including The English National Opera (2009)[92] and in 2016 the Metropolitan Opera in New York.

Visual arts

Capitoline Venus - Palazzo Nuovo - Musei Capitolini - Rome 2016
The Capitoline Venus (Capitoline Museums), an Antonine copy of a late Hellenistic sculpture that ultimately derives from Praxiteles.

The backbone of traditional Western art history are artworks commissioned by wealthy patrons for private or public enjoyment. Much of this was religious art, mostly Roman Catholic art. The classical art of Greece and Rome has, since the Renaissance, been the fount of the Western tradition.

Giorgio Vasari (1511–1574) is the originator of the artistic canon and the originator of many of the concepts it embodies. His Lives of the Most Excellent Painters, Sculptors, and Architects covers only artists working in Italy,[93] with a strong pro-Florentine prejudice, and has cast a long shadow over succeeding centuries. Northern European art has arguably never quite caught up to Italy in terms of prestige, and Vasari's placing of Giotto as the founding father of "modern" painting has largely been retained. In painting, the rather vague term of Old master covers painters up to about the time of Goya.

This "canon" remains prominent, as indicated by the selection present in art history textbooks, as well as the prices obtained in the art trade. But there have been considerable swings in what is valued. In the 19th century the Baroque fell into great disfavour, but it was revived from around the 1920s, by which time the art of the 18th and 19th century was largely disregarded. The High Renaissance, which Vasari regarded as the greatest period, has always retained its prestige, including works by Leonardo da Vinci, Michelangelo, and Raphael, but the succeeding period of Mannerism has fallen in and out of favour.

In the 19th century the beginnings of academic art history, led by German universities, led to much better understanding and appreciation of medieval art, and a more nuanced understanding of classical art, including the realization that many if not most treasured masterpieces of sculpture were late Roman copies rather than Greek originals. The European tradition of art was expanded to include Byzantine art and the new discoveries of archaeology, notably Etruscan art, Celtic art and Upper Paleolithic art.

Since the 20th century there has been an effort to re-define the discipline to be more inclusive of art made by women; vernacular creativity, especially in printed media; and an expansion to include works in the Western tradition produced outside Europe. At the same time there has been a much greater appreciation of non-Western traditions, including their place with Western art in wider global or Eurasian traditions. The decorative arts have traditionally had a much lower critical status than fine art, although often highly valued by collectors, and still tend to be given little prominence in undergraduate studies or popular coverage on television and in print.

Women and art

English artist and sculptor Barbara Hepworth DBE (1903 – 1975), whose work exemplifies Modernism, and in particular modern sculpture, is one of the few female artists to achieve international prominence.[94] In 2016 the art of American modernist Georgia O'Keefe has been staged at the Tate Modern, in London, and is then moving in December 2016 to Vienna, Austria, before visiting the Art Gallery of Ontario, Canada in 2017.[95]

Historical exclusion of Women

Women were discriminated against in terms of obtaining the training necessary to be an artist in the mainstream Western traditions. In addition, since the Renaissance the nude, more often than not female, has had a special position as subject matter. In her 1971 essay, "Why Have There Been No Great Women Artists?", Linda Nochlin analyzes what she sees as the embedded privilege in the predominantly male Western art world and argues that women's outsider status allowed them a unique viewpoint to not only critique women's position in art, but to additionally examine the discipline's underlying assumptions about gender and ability.[96] Nochlin's essay develops the argument that both formal and social education restricted artistic development to men, preventing women (with rare exception) from honing their talents and gaining entry into the art world.[96]

In the 1970s, feminist art criticism continued this critique of the institutionalized sexism of art history, art museums, and galleries, and questioned which genres of art were deemed museum-worthy.[97] This position is articulated by artist Judy Chicago: "[I]t is crucial to understand that one of the ways in which the importance of male experience is conveyed is through the art objects that are exhibited and preserved in our museums. Whereas men experience presence in our art institutions, women experience primarily absence, except in images that do not necessarily reflect women's own sense of themselves."[98]

Sources containing canonical lists

English literature

International literature

American university reading lists

Contemporary anthologies of renaissance literature

The preface to the Blackwell anthology of Renaissance Literature from 2003 acknowledges the importance of online access to literary texts on the selection of what to include, meaning that the selection can be made on basis of functionality rather than representativity".[105] This anthology has made its selection based on three principles. One is "unabashedly canonical", meaning that Sidney, Spenser, Marlowe, Shakespeare, and Jonson have been given the space prospective users would expect. A second principle is "non-canonical", giving female writers such as Anne Askew, Elizabeth Cary, Emilia Lanier, Martha Moulsworth, and Lady Mary Wroth a representative selection. It also includes texts that may not be representative of the qualitatively best efforts of Renaissance literature, but of the quantitatively most numerous texts, such as homilies and erotica. A third principle has been thematic, so that the anthology aims to include texts that shed light on issues of special interest to contemporary scholars.

The Blackwell anthology is still firmly organised around authors, however. A different strategy has been observed by The Penguin Book of Renaissance Verse from 1992.[106] Here the texts are organised according to topic, under the headings The Public World, Images of Love, Topographies, Friends, Patrons and the Good Life, Church, State and Belief, Elegy and Epitaph, Translation, Writer, Language and Public. It is arguable that such an approach is more suitable for the interested reader than for the student. While the two anthologies are not directly comparable, since the Blackwell anthology also includes prose and the Penguin anthology goes up to 1659, it is telling that while the larger Blackwell anthology contains work by 48 poets, seven of which are women, the Penguin anthology contains 374 poems by 109 poets, including 13 women and one poet each in Welsh, Siôn Phylip, and Irish, Eochaidh Ó Heóghusa.

German literature

Best German Novels of the Twentieth Century

The Best German Novels of the Twentieth Century is a list of books compiled in 1999 by Literaturhaus München and Bertelsmann, in which 99 prominent German authors, literary critics, and scholars of German ranked the most significant German-language novels of the twentieth century.[107] The group brought together 33 experts from each of the three categories.[108] Each was allowed to name three books as having been the most important of the century. Cited by the group were five titles by both Franz Kafka and Arno Schmidt, four by Robert Walser, and three by Thomas Mann, Hermann Broch, Anna Seghers, and Joseph Roth.[107]

Der Kanon, edited by Marcel Reich-Ranicki, is a large anthology of exemplary works of German literature.[109]

French literature

See Key texts of French literature

Canon of Dutch Literature

The Canon of Dutch Literature comprises a list of 1000 works of Dutch-language literature important to the cultural heritage of the Low Countries, and is published on the DBNL. Several of these works are lists themselves; such as early dictionaries, lists of songs, recipes, biographies, or encyclopedic compilations of information such as mathematical, scientific, medical, or plant reference books. Other items include early translations of literature from other countries, history books, first-hand diaries, and published correspondence. Notable original works can be found by author name.

Scandinavia

Danish Culture Canon

The Danish Culture Canon consists of 108 works of cultural excellence in eight categories: architecture, visual arts, design and crafts, film, literature, music, performing arts, and children's culture. An initiative of Brian Mikkelsen in 2004, it was developed by a series of committees under the auspices of the Danish Ministry of Culture in 2006–2007 as "a collection and presentation of the greatest, most important works of Denmark's cultural heritage." Each category contains 12 works, although music contains 12 works of score music and 12 of popular music, and the literature section's 12th item is an anthology of 24 works.[110][111]

Sweden

Världsbiblioteket (The World Library) was a Swedish list of the 100 best books in the world, created in 1991 by the Swedish literary magazine Tidningen Boken. The list was compiled through votes from members of the Svenska Akademien, Swedish Crime Writers' Academy, librarians, authors, and others. Approximately 30 of the books were Swedish.

Norway

See also

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Bibliography

  • Hirsch, E. D.; Trefil, James; Kett, Joseph F. (1988). The dictionary of cultural literacy. Boston: Houghton Mifflin. ISBN 9780395437483.
  • Guillory, John (1993). Cultural capital the problem of literary canon formation. Chicago: University of Chicago Press. ISBN 9780226310442.
  • Knox, Bernard (1994). The oldest dead white European males and other reflections on the classics. New York: W.W. Norton. ISBN 9780393312331.
  • Bloom, Harold (1995). The Western canon: the books and school of the ages. New York: Riverhead Books. ISBN 9781573225144.
  • Owens, W. R. (1996). Shakespeare, Aphra Behn, and the Canon. New York: Routledge in association with the Open University. ISBN 9780415135757.
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  • Ross, Trevor (1998). The making of the English literary canon from the Middle Ages to the late eighteenth century. Montreal Que: McGill-Queen's University Press. ISBN 9780773520806.
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  • Brzyski, Anna. ed. (2007) Partisan Canons, Duke University Press, ISBN 9780822341062
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  • Gorak, Jan (2013). The making of the modern canon: genesis and crisis of a literary idea. London: Bloomsbury Academic. ISBN 9781472513274.
  • Carpeaux, Otto Maria (2014). Historia da literatura ocidental [The History of Western Literature] (in Portuguese). Rio de Janeiro: LeYa. ISBN 9788544101179. OCLC 889331083.

External links

1455 papal conclave

The papal conclave of 1455 (April 4–8) elected Alfons Borja Pope Callixtus III following the death of Pope Nicholas V. The conclave was the first in the Apostolic Palace, the site of all but five papal conclave thereafter. The conclave was also the first to feature accessus voting (votes cast in accessit), derived from a practice of the Roman Senate, where a cardinal could change their vote after an unsuccessful scrutiny to any cardinal already receiving votes.The early defeat of Greek Cardinal Basilios Bessarion—a potential compromise candidate between the Colonna and Orsini factions—is a notable display of the lingering antipathy towards certain characteristics of the Eastern church, such as bearded priests, centuries after the East-West Schism. Although Western canon law had prohibited beards for priests since at least the eleventh century, the issue would continue to be debated well into the sixteenth century.

Ancient Evenings

Ancient Evenings is a novel by American author Norman Mailer. It deals with the lives of two protagonists, one young, one old, in a very alien Ancient Egypt marked by journeys by the dead, reincarnation, and violent and hyper-sexual gods and mortals in a complex combination of historical fiction, allegory, poetic flight, confession and spiritual meditation.

Most but not all of the novel takes place on one long evening in 1123 or 1122 BCE, during which the characters (including Ramesses IX) tell stories of the past. The majority of the book concerns the reign of Ramesses II, approximately 150 years before the night of the narrative; the Battle of Kadesh (1274 BCE) is in turn the central event of this sub-narrative.

The novel had an extremely mixed critical reception marked by a preponderance of negative reviews, with the notable exception of celebrated literary critic Harold Bloom, who praised the work in the New York Review of Books and listed it in the fourth appendix for The Western Canon: The Books and School of the Ages (1994).

William S. Burroughs acknowledged "Norman Mailer and his Ancient Evenings, for inspiration" in his 1987 novel The Western Lands.

Artistic merit

Artistic merit is the perceived artistic quality or value of any given work of art, music, film, literature, sculpture or painting. The term can be applied to a classic or masterpiece which has stood the test of time and is part of the Western canon.

Classic book

A classic is a book accepted as being exemplary or noteworthy, for example through an imprimatur such as being listed in a list of great books, or through a reader's personal opinion. Although the term is often associated with the Western canon, it can be applied to works of literature from all traditions, such as the Chinese classics or the Indian Vedas.

What makes a book "classic" is a concern that has occurred to various authors ranging from Italo Calvino to Mark Twain and the related questions of "Why Read the Classics?" and "What Is a Classic?" have been essayed by authors from different genres and eras (including Calvino, T. S. Eliot, Charles Augustin Sainte-Beuve). The ability of a classic book to be reinterpreted, to seemingly be renewed in the interests of generations of readers succeeding its creation, is a theme that is seen in the writings of literary critics including Michael Dirda, Ezra Pound, and Sainte-Beuve.

The terms "classic book" and "Western canon" are closely related concepts, but they are not necessarily synonymous. A "canon" refers to a list of books considered to be "essential" and is presented in a variety of ways. It can be published as a collection (such as Great Books of the Western World, Modern Library, or Penguin Classics), presented as a list with an academic’s imprimatur (such as Harold Bloom's) or be the official reading list of an institution of higher learning (such as "The Reading List" at St. John's College or Rutgers University.

Classicism

Classicism, in the arts, refers generally to a high regard for a classical period, classical antiquity in the Western tradition, as setting standards for taste which the classicists seek to emulate. The art of classicism typically seeks to be formal and restrained: of the Discobolus Sir Kenneth Clark observed, "if we object to his restraint and compression we are simply objecting to the classicism of classic art. A violent emphasis or a sudden acceleration of rhythmic movement would have destroyed those qualities of balance and completeness through which it retained until the present century its position of authority in the restricted repertoire of visual images." Classicism, as Clark noted, implies a canon of widely accepted ideal forms, whether in the Western canon that he was examining in The Nude (1956), or the literary Chinese classics or Chinese art, where the revival of classic styles is also a recurring feature.

Classicism is a force which is often present in post-medieval European and European influenced traditions; however, some periods felt themselves more connected to the classical ideals than others, particularly the Age of Enlightenment, when Neoclassicism was an important movement in the visual arts.

Critical social thought

Critical social thought is an interdisciplinary academic major offered at several liberal arts colleges.

It addresses the fundamental questions about social life and embraces the contours of modern experience and the historical forces that have helped to shape that experience. It examines the prevailing and oppositional currents of thought; cultural representations as well as the technologies of their production and dissemination; the tensions between power and freedom, individuality and society, truth and uncertainty, creativity and order.

The program treats common sense and conventional beliefs as points of departure rather than as predetermined points of arrival. It also supports questioning the taken-for-granted regardless of the political angle from which that questioning takes place. While critical social thought introduces a broad range of established critical genres, it also encourages imaginative thinking through synthesis and bridging tendencies of thought.

Examples of topical concentrations include: Architecture and the social organization of space, disenchantment, peace and conflict, racial and ethnic identities, the Western canon and its critics.

Dreamtigers

Dreamtigers, first published in 1960 as El Hacedor ("The Maker"), is a collection of poems, short essays, and literary sketches by the Argentine author Jorge Luis Borges. Divided fairly evenly between prose and verse, the collection examines the limitations of creativity. Borges regarded Dreamtigers as his most personal work. In the view of Mortimer Adler, editor of the Great Books of the Western World series, the collection was a masterpiece of 20th century literature. Literary critic Harold Bloom includes it in his Western Canon.

The original Spanish title refers to the Scots word makar, meaning "poet".

Everyman's Library

Everyman's Library is a series of reprints of classic literature, primarily from the Western canon. It is currently published in hardback by Random House. It was originally an imprint of J. M. Dent (latterly a division of Weidenfeld & Nicolson and presently an imprint of Orion Books), who continue to publish Everyman Paperbacks.

Gardner's Art Through the Ages

Gardner's Art Through the Ages is an American textbook on the history of art, with the 2004 edition by Fred S. Kleiner and Christin J. Mamiya. The 2001 edition was awarded both a McGuffey award for longevity[1] and the "Texty" Award for current editions[2] by the Text and Academic Authors Association. No other book has received both awards in the same year.

The first edition published in 1926 was written by Helen Gardner. It, like all following editions, was organized chronologically beginning with "The Birth of Art" in the Upper Paleolithic and progressing in a mainly chronological sequence to the contemporary period.

Gardner's initial edition was ahead of its time in that along with the Western canon of European art, it examined the art of other cultures. This broader view has influenced artists like Roy Lichtenstein as a student[3] with its coverage not only of China, Japan, and Africa, but The Americas and the South Pacific as well. It continues to be a required text for introductory classes in art history for American students to this day.[4][5]

Harold Bloom

Harold Bloom (born July 11, 1930) is an American literary critic and Sterling Professor of Humanities at Yale University. Since the publication of his first book in 1959, Bloom has written more than forty books, including twenty books of literary criticism, several books discussing religion, and a novel. He has edited hundreds of anthologies concerning numerous literary and philosophical figures for the Chelsea House publishing firm. Bloom's books have been translated into more than 40 languages.

Bloom came to public attention in the United States as a commentator during the literary canon wars of the early 1990s. He was educated at Yale University, Cambridge University, and Cornell.

Henry Louis Gates Jr.

Henry Louis "Skip" Gates Jr. (born September 16, 1950) is an American literary critic, teacher, historian, filmmaker and public intellectual who currently serves as the Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University. He discovered what are considered the first books by African-American writers, both women, and has published extensively on appreciating African-American literature as part of the Western canon.

In addition to producing and hosting previous series on the history and genealogy of prominent American figures, since 2012 Gates has been host for four seasons of the series Finding Your Roots on PBS. It combines the work of expert researchers in genealogy, history, and genetics historic research to tell guests about their ancestors' lives and histories.

Ironweed (novel)

Ironweed is a 1983 novel by William Kennedy. It received the 1984 Pulitzer Prize for Fiction and is the third book in Kennedy's Albany Cycle. It placed at number ninety-two on the Modern Library list of the 100 Best Novels written in English in the 20th Century and is also included in the Western Canon of the critic Harold Bloom.

Myra Breckinridge

Myra Breckinridge is a 1968 satirical novel by Gore Vidal written in the form of a diary. Described by the critic Dennis Altman as "part of a major cultural assault on the assumed norms of gender and sexuality which swept the western world in the late 1960s and early 1970s," the book's major themes are feminism, transsexuality, American expressions of machismo and patriarchy, and deviant sexual practices, as filtered through an aggressively camp sensibility. The controversial book is also "the first instance of a novel in which the main character undergoes a clinical sex-change." Set in Hollywood in the 1960s, the novel also contains candid and irreverent glimpses into the machinations within the film industry.

Myra Breckinridge was dismissed by some of the era's more conservative critics as pornographic at the time of its first publication in February 1968; nevertheless, the novel immediately became a worldwide bestseller and has since come to be considered a classic in some circles. "It is tempting to argue that Vidal said more to subvert the dominant rules of sex and gender in Myra than is contained in a shelf of queer theory treatises," wrote Dennis Altman. Critic Harold Bloom cites the novel as a canonical work in his book The Western Canon. Vidal called Myra his favorite of his books, and published a sequel, Myron, in 1974.

The novel was adapted into a 1970 film of the same name, which was universally panned. Vidal disowned the film, calling it "an awful joke".In his 1995 memoir Palimpsest, Vidal said the voice of Myra may have been inspired by the "megalomania" of Anaïs Nin's diaries.

Penguin Classics

Penguin Classics is an imprint of Penguin Books under which classic works of literature are published in English, Spanish, Brazilian Portuguese, and Korean among other languages. Literary critics see books in this series as important members of the Western canon, though many titles are translated or of non-Western origin; indeed, the series for decades from its creation included only translations, until it eventually incorporated the Penguin English Library imprint in 1986. The first Penguin Classic was E. V. Rieu's translation of The Odyssey, published in 1946, and Rieu went on to become general editor of the series. Rieu sought out literary novelists such as Robert Graves and Dorothy Sayers as translators, believing they would avoid "the archaic flavour and the foreign idiom that renders many existing translations repellent to modern taste."

In 1964 Betty Radice and William Baldick succeeded Rieu as joint editors, with Radice becoming sole editor in 1974 and serving as an editor for 21 years. As editor, Radice argued for the place of scholarship in popular editions, and modified the earlier Penguin convention of the plain text, adding line references, bibliographies, maps, explanatory notes and indexes. She broadened the canon of the 'Classics', and encouraged and diversified their readership while upholding academic standards.

Philomela

Philomela () or Philomel (; Greek: Φιλομήλη, Philomēlē) is a minor figure in Greek mythology and is frequently invoked as a direct and figurative symbol in literary, artistic, and musical works in the Western canon.

She is identified as being the "princess of Athens" and the younger of two daughters of Pandion I, King of Athens, and Zeuxippe. Her sister, Procne, was the wife of King Tereus of Thrace. While the myth has several variations, the general depiction is that Philomela, after being raped and mutilated by her sister's husband, Tereus, obtains her revenge and is transformed into a nightingale (Luscinia megarhynchos), a migratory passerine bird native to Europe and southwest Asia and noted for its song. Because of the violence associated with the myth, the song of the nightingale is often depicted or interpreted as a sorrowful lament. Coincidentally, in nature, the female nightingale is mute and only the male of the species sings.Ovid and other writers have made the association (either fancifully or mistakenly) that the etymology of her name was "lover of song," derived from the Greek φιλο- and μέλος ("song") instead of μῆλον ("fruit" or "sheep"). The name means "lover of fruit," "lover of apples," or "lover of sheep."

Program music

Program music or programme music is a type of art music that attempts to musically render an extra-musical narrative. The narrative itself might be offered to the audience in the form of program notes, inviting imaginative correlations with the music. A classic example is Hector Berlioz's Symphonie fantastique, which relates a series of morbid fantasies concerning the unrequited love of a sensitive poet involving murder, execution, and the torments of Hell. The genre culminates in the symphonic works of Richard Strauss that include narrations of the adventures of Don Quixote, Till Eulenspiegel, the composer's domestic life, and an interpretation of Nietzsche's philosophy of the Superman. Following Strauss, the genre declined and new works with explicitly narrative content are rare. Nevertheless the genre continues to exert an influence on film music, especially where this draws upon the techniques of late romantic music.

The term is almost exclusively applied to works in the European classical music tradition, particularly those from the Romantic music period of the 19th century, during which the concept was popular, but pieces which fit the description have long been a part of music. The term is usually reserved for purely instrumental works (pieces without singers and lyrics), and not used, for example for Opera or Lieder. Single movement orchestral pieces of program music are often called symphonic poems.

Absolute music, in contrast, is intended to be appreciated without any particular reference to the outside world.

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