Vo svojich literárnokritických začiatkoch polovicou 60. rokov minulého storočia Michal Harpáň bol orientovaný na srbský literárny kontext, predovšetkým na srbskú poéziu. Do slovenskej literatúry ...„vstúpil“ krátkymi lyrizovanými poviedkami a len neskôr, koncom 60. rokov minulého storočia začal písať aj literárnokritické texty v slovenčine. Zo začiaktu bol jeho literárnokritický výraz výrazne esejisticky koncipovaný, no po oboznámení sa so súdobou slovenskou literárnou vedou Harpáň svoje interpretácie literárnych textov uskutočnňuje pod výrazným vplyvom scientistických literárnovedných metodológií, predovšetkým štrukturalizmu. Tento obrat v literárnokritickej tvorbe Michala Harpáňa sa odohral začiatkom 70. rokov minulého storočia a mal ďalekosiahle následky nielen pre slovenskú vojvodinskú literárnu kritiku, ale i celkovú literatúru.
The project of writing a social history of literature is generally held to have exhausted its potential. Yet the general practice of literary studies still encompasses socio-historical issues like ...the relationship between literary texts and their social environment, studies on the distribution of literature, questions pertaining to the historical and social status of authors and readers. The articles in this volume essay a stock-taking of the (now historical) paradigm 'social history of literature' and by engaging critically with approaches from cultural studies and media theory outline new concepts for literary studies 'after social history'.
Approaching literary study from two distinct yet interlocking perspectives (by looking at the major genres of literature and by examining the forms in which students of literature are expected to ...write about the literature they read), this book has two main sections. Following the Prelude, which treats the relationships between reading and writing as they pertain to literary study, Part 1, "Reading as a Writer," contains the following chapters: (1) Journal Writing (T. Fulwiler); (2) Responding to Fiction (A. Biddle and A. Shepherd; (3) Responding to Poetry (S. Poger); (4) Responding to Drama (J. Howe); and (5) Literary Criticism and Theory (J. Holstun). Part 2, "Writing as a Reader," contains the following chapters: (6) Writing Critical Essays (R. Warhol); (7) Writing Personal Essays (M. Dickerson); (8) Imaginative Writing and Risk Taking (W. Stephany); (9) Examining the Essay Examination (T. Magistrale); and (10) Writing Research (R. Sweterlitsch). A glossary, biographies of the contributors, and an index conclude the book. (SR)
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