Professor Guerrero's Blog

mguerrero@gmail.com

Co-author of East of Tiffany's, 13 short stories of a Latino immigrant's success in USA; a journey from West Harlem to Sutton Place and Park Avenue. Check out the reviews in Amazon.com and in Barnes and Noble.

on KINDLE on NOOK

My best seller as of now is

Titanes de la Filosofia

Professor Guerrero's Blog: A.C. Bradley Lecture on Jane Austen (Part 1 of 2) Professor Guerrero's Blog: Book Reviews, Human Interest Articles, Accounting Lessons, and Writing Techniques

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All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.

Ideas About the Novel by Ortega y Gasset - my translation $0.99


Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language. Transliterated into easy language for enjoyable reading pleasure. Because The Lazarillo of Tormes pointed a new direction, European and American literature benefited with titles that today are considered classics: Cervantes’ Rinconete and Cortadillo; Daniel Defoe’s Moll Flanders, Henry Fielding’s Tom Jones and Joseph Andrews; Tobias Smollett’s Roderick Random, and Peregrine Pickle; Voltaire’s Candide; Charles Dickens’ David Copperfield. And many others to include American works ranging from Mark Twain to Saul Bellow.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art. According to Ortega, the arts don't have to tell a human story; art should deal with its own forms—and not with the human form.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic. This e-book teaches how to break the pattern Subject-verb-object--and discard openings that begin with nouns, articles, and pronouns.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality. While business terminology is interwoven throughout these short stories, it's not business lessons that I take away with me, but life lessons. The circumstances and the characters' profound humanity are relatable despite their zip code . "Luke, Postmodern Man" offers a new vista into faith, suffering, and love of neighbor. Way after you read this book you'll find yourself thinking about the various characters throughout the series of stories and will find solace in their unwavering faith. The narrators' ability to reflect on their hardships with such serenity is inspiring.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers! Every page is filled with great writing tips, training lessons, and wonderful useful writing skills! Not only do I write essays for college, but also short stories!
--IVONNIE Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK













All my books are now in KINDLE


Ideas About the Novel by Ortega y Gasset - my translation $0.99
Torquemada at the Stake by Perez Galdos- my translation $0.99
Lazarillo of Tormes - my translation $0.99
Dehumanization of Art by Ortega y Gasset - my translation $0.99
Sentence Openers
East of Tiffany's - bestseller $5


The most beloved short story from Spanish literature
All my books are in NOOK $0.99 or in Amazon KINDLE $0.99








All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.
Ideas About the Novel by Ortega y Gasset - my translation $0.99

Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers!
--Ivonnie Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK





Available in KINDLE $0.99


Available in KINDLE $0.99

Sunday, June 9, 2013

A.C. Bradley Lecture on Jane Austen (Part 1 of 2)





Wordsworth, Coleridge, and Scott. When she died, Byron was famous, and Shelley and Keats had already published. She belongs therefore to the period commonly entitled that of the Romantic Revival, or the Revival of Imagination. And yet these titles do not suit her in the least.

The Waverley Novels  are 'romantic' in this special sense, but hers are not. They might even be called anti-romantic. Nor are they more imagi­native than those of Richardson and Fielding, in the sense implied in the phrase Revival of Imagination.
That other favourite title, again, 'return to nature', seems to leave her equally untouched. She was, indeed, intensely fond of the country; but scenery plays no great part in her novels, and we find scarcely a trace of the distinctively new modes of feeling towards nature. She resembles Cowper here, not Wordsworth or Shelley. If we take 'return to nature' more widely, she still fails to show this return. She does not write of human nature in its most simple, primitive, or unsocial forms. She has no savages or outlaws; the lower orders appear only and casually in a peasant or two, or an hotel waiter; of the few children, most are spoilt; and she is perfectly innocent of the idea that civilization is the fall of man from some paradisal state of nature.

The one contemporary poet to whom she has a marked affinity is Crabbe, but it ceases where Crabbe is most imaginative, as in Sir Eustace Grey, or Prisons, or Peter Grimes. She is separated both by her limitations and by her strength from the greater poets of her time. The strangeness of her position is diminished, no doubt, if we remember that those well-worn titles ignore a large part of the prose literature of her day; but that part was, on the whole, second-rate, and the fact remains that she belongs to the first-rate writers, and is an exception among them. We might even say that she got nothing from the Romantic Revival except the opportunity of mak­ing fun of Mrs. Radcliffe. Essentially, it appears to me, her novels belong to the age of Johnson and Cowper.
There are two distinct strains in Jane Austen. She is a moralist and a humorist.
These strains are often blended or even completely fused, but still they may be distinguished. It is the first that connects her with Johnson, by whom, I suspect, she was a good deal influenced. With an intellect much less massive, she still observes human nature with the same penetration and the same complete honesty. She is like him in the abstention—-no doubt, in her case, much less deliberate—from speculation, and in the orthodoxy and strength of her religion. She is very like him in her contempt for mere sentiment, and for that 'cant' of which Boswell was recommended to clear his mind. We remember Johnson in those passages where she refuses to express a deeper con­cern than she feels for misfortune or grief, and with both there is an occasional touch of brutality in the manner of the refusal. It is a ques­tion, however, of manner alone, and when she speaks her mind fully and gravely she speaks for Johnson too; as when she makes Emma say:

“I hope it may be allowed that, if compassion has produced exertion and relief to the sufferers, it has done all that is truly important. If we feel for the wretched enough to do all we can for them, the rest is empty sympathy, only distressing to ourselves.”

Finally, like Johnson, she is, in the strict sense, a moralist. Her morality, that is to say, is not merely embodied in her plots, it is often openly expressed. She followed a fashion of the day in her abstract titles, Sense and Sensibility, Pride and Prejudice, Persuasion; but the fashion coincides with the move­ment of her mind, and she knew very well the main lesson to be drawn from the other three novels. Her explicit statements and comments are often well worth pondering, though their terminology is sometimes old-fashioned, and though her novels contain infinitely more wisdom than they formulate.

But Jane Austen's favorite attitude, we may even say her instinctive attitude, is, of course, that of the humorist. And this is not all. The foibles, illusions, self-contradictions, of human nature are a joy to her for their own sakes, but also because through action they lead to con­sequences which may be serious but may also be comic. In that case they produce sometimes matter fit for a comedy, a play in which peo­ple's lives fall into an entanglement of errors, misunderstandings, and cross-purposes, from which they are rescued, not by their own wisdom or skill, but by the kindness of Fortune or some Providence with a weakness for lovers.

But the resemblance to comedy goes further: it extends to the whole story. In all her novels, though in varying degrees, Jane Austen regards the characters, good and bad alike, with ironical amusement, because they never see the situation as it really is and as she sees it. This is the deeper source of our unbroken pleasure in reading her. We constantly share her point of view, and are aware of the amusing difference between the fact and its appearance to the actors. If you fail to perceive and enjoy this, you are not really reading Jane Austen. Some readers do not perceive it, and therefore fail to appreciate her. Others perceive it without enjoying it, and they think her cynical. She IS never cynical, and not often merely satirical. A cynic or a mere satirist may be intel­lectually pleased by human absurdities and illusions, but he does not feel them to be good. But to Jane Austen, so far as they are not seriously harmful, they are altogether pleasant, because they are both ridiculous and right.

 It is amusing, for example, that Knightley, who is almost a model of good sense, right feeling, and just action, should be unjust to Frank Churchill because, though he does not know it, he himself is in love with Emma: but to Jane Austen that is not only the way a man is made, but the way he should be made. No doubt there are plenty of things that should not be, but when we so regard them they are not comical.

A main point of difference between Jane Austen and Johnson is that to her much of the world is amusing, and much more of it is right. She is less of a moralist and more of a humorist.

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Professor Guerrero's Blog

Co-author of East of Tiffany's, 13 short stories that will warm your heart - See 101 reviews in Amazon.com and 37 in Barnes and Noble.

on KINDLE on NOOK

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