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“Today we hear a great deal about Organizational Men, Mass Culture, Conformity, the Lonely Crowd, the Power Elite and its Conspiracy of Mediocrity. We forget that the very volume of this criticism is an indication that our society is still radically pluralistic. Not only are there plenty of exceptionalists who take exception to the stereotyping of the mass culture but that very string of epithets comes from a series of books that have been recent best-sellers, symptoms of a popular, living tradition of dissent from things as they are.”

“What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .”

“Comedy is an intellectual affair, and deals chiefly with logic. Tragedy is an emotional affair, and deals chiefly with value. Horace Walpole once said that "life is a comedy to the man who thinks and a tragedy to the man who feels." Comedy is negative; it is a criticism of limitations and an unwillingness to accept them. Tragedy is positive; it is an uncritical acceptance of the positive content of that which is delimited. Since comedy deals with the limitations of actual situations and tragedy with their positive content, comedy must ridicule and tragedy must endorse.”

“So-called "natural language" is wonderful for the purposes it was created for, such as to be rude in, to tell jokes in, to cheat or to make love in (and Theorists of Literary Criticism can even be content-free in it), but it is hopelessly inadequate when we have to deal unambiguously with situations of great intricacy, situations which unavoidably arise in such activities as legislation, arbitration, mathematics or programming.”

“I had read the criticisms of me and my movies and they were discerning. They said that Crawford needs a new deal, and they asked if I was doomed to explore forever the emotional misfortunes of the super-sexed modern young woman. And so, to break away from the pattern, I wanted to do "The Gorgeous Hussy". Selznick laughed at me. 'You can't do a costume picture. You're too modern.' But I begged and begged and begged, and so they let me do it. I was totally miscast.”