Frank Lentricchia
Frank Lentricchia
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Full Name and Common Aliases
Frank Lentricchia was born on October 22, 1945. He is often referred to as Frank Lentricchia.
Birth and Death Dates
October 22, 1945 - still living
Nationality and Profession(s)
Lentricchia's nationality is American, and he worked as a professor of English at Duke University from 1987 until his retirement in 2011. He also served as the director of graduate studies for the Department of Literature.
Early Life and Background
Frank Lentricchia grew up in Pennsylvania, where he developed an interest in literature and philosophy. His early life was marked by a fascination with the works of authors such as Fyodor Dostoevsky and Franz Kafka. He went on to attend Bucknell University, where he earned his undergraduate degree.
Major Accomplishments
Lentricchia's academic career was distinguished by his contributions to literary theory and criticism. His most notable work is "After the New Criticism," a book that challenged the prevailing literary theories of the time. This book marked a significant shift in Lentricchia's focus, as he began to explore the relationships between literature and politics.
Notable Works or Actions
Throughout his career, Lentricchia published numerous books and articles on literary theory and criticism. Some of his notable works include:
After the New Criticism (1975) - a book that critiques the dominant literary theories of its time
Criticism and Social Change (1983) - a collection of essays exploring the relationships between literature and politics
Lentricchia was also an active participant in academic debates, often engaging with prominent critics and theorists. His contributions to these discussions helped shape the field of literary theory.
Impact and Legacy
Frank Lentricchia's work has had a lasting impact on the field of literary theory. His critiques of prevailing theories and his exploration of the relationships between literature and politics have influenced generations of scholars. As a professor, he mentored numerous students who went on to become prominent critics and theorists in their own right.
Why They Are Widely Quoted or Remembered
Lentricchia's work is widely quoted and remembered due to its significant contributions to literary theory and criticism. His critiques of prevailing theories and his exploration of the relationships between literature and politics have had a lasting impact on the field. As a professor, he mentored numerous students who went on to become prominent critics and theorists in their own right.
Frank Lentricchia's legacy extends beyond his academic work. He is remembered as a dedicated teacher and mentor who inspired countless students throughout his career. His commitment to challenging prevailing theories and exploring new ideas has left a lasting impact on the field of literary theory.
Quotes by Frank Lentricchia
Frank Lentricchia's insights on:
Take the road to contradiction, it’ll lead you, I promise, to the palace of wisdom.
Our personal past is only available to us now through black-and-white film, it’s a medium for communication with the dead, including our dead selves, the way we used to be, which is why we’re drawn to it.
I want to die, stripped, by myself, of all fantasies. That’s the goal. I want to feel what is real, at the end, and only what is real. Grip fiercely with my eyes all that is around me – the people of my intimate life, the objects in the room, without the evasions of fantasies.
Take the road to contradiction, it'll lead you, I promise, to the palace of wisdom.
Here's the most startling irony I know in film history: Antonioni, who is often denigrated by left-wing critics as a formalist and aesthete gives us radical realism through the long take, and what he gives us--this is his metaphysical wager--is real outside the film, off the set, beyond the camera and underneath the surface of everyday life.
I want to die, stripped, by myself, of all fantasies. That's the goal. I want to feel what is real, at the end, and only what is real. Grip fiercely with my eyes all that is around me--the people of my intimate life, the objects in the room, without the evasions of fantasies.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
