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Untitled - Sexey's School Moodle

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Whereas these historical accounts are essential to understand the modern debate,<br />

most of the crucial theoretical implications pertaining to the idea of literary canons as<br />

they stand today are summed in John Guillory’s Cultural Capital: The Problem of<br />

Literary Canon Formation and David H. Richter Falling Into Theory: Conflicting Views<br />

on Reading Literature. While the latter offers a comprehensible collection of essays<br />

representing the varying perspectives on canon-formation and criteria that determine<br />

literary value from renowned critics and scholars (such as Edward Said, Harold Bloom,<br />

and Henry Louis Gates Jr.), Guillory challenges both the “traditionalists” and the<br />

“populists” factions of the debate by resituating the problem of canon-formation in a new<br />

theoretical framework drawn from a term first coined by Pierre Bourdieu 1 . For Guillory,<br />

canons are “cultural capital” and the current debate should not be focused on so-called<br />

“representative” and/or “aesthetical” values but on the various forces which regulate the<br />

distribution and consumption of literary works. Guillory divides his book into three main<br />

sections: "Critique" which discusses the issues surrounding the current canonical debate;<br />

"Case Studies," divided into three chapters, which explains 1) how the inclusion of Gray<br />

and Wordsworth in the vernacular canon displays the connection between the<br />

"articulation of the school's institutional agendas with social struggles in the society at<br />

large" (x); 2) how the rise of New Criticism resulted in the canonization of the moderns<br />

and the revaluing of the metaphysical poets; and 3) how literary theory has become the<br />

authority in the attribution of stock value to literary works by regulating the distribution<br />

of cultural capital within the institutional curriculum. For the purposes of this study and<br />

1 In “The Forms of Capital,” Bourdieu develops the notion of capital beyond its strict economic conception<br />

to include "immaterial" and "non-economic" forms of capital, specifically cultural and symbolic capital, as<br />

they become subjected to various forms of exchanges and transactions.<br />

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