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Herman Northrop Frye è stato un critico letterario canadese.

Cresciuto a Moncton, nel New Brunswick, è entrato nel Victoria College nel 1929, laureandosi con lode in filosofia nel 1933, per poi passare alla facoltà di teologia ed essere ordinato pastore della Union Church of Canada nel 1936. Ha poi proseguito gli studi presso il Merton College di Oxford.

Dal 1940 ha poi insegnato letteratura inglese all'Emmanuel College della Victoria University di Toronto, di cui è stato anche rettore dal 1959 al 1966.

Nell'anno accademico 1974-1975 è stato Norton professor alla Harvard University.

Ha sposato Helen Kemp, anche lei insegnante, nel 1937 e, rimasto vedovo nel 1984, ha sposato Elizabeth Brown nel 1986.

Morto nel 1991, è sepolto nel Mount Pleasant Cemetery di Toronto, in Ontario.

Nel 2000 il Canada ha stampato un francobollo con la sua immagine.

La sua opera più famosa è Anatomia della critica, uscita in prima edizione nel 1957, ma anche i suoi studi sulla Bibbia e su William Blake sono molto importanti e hanno avuto successo tra gli studiosi a cavallo tra letteratura e religione.

Tra gli argomenti di indagine figurano anche Percy Shelley, George Byron, John Milton, William Shakespeare e gli archetipi mito-poietici della letteratura.

Il Frye concepisce la letteratura come un universo a sé stante: <<essa non è un commento sulla vita e sulla realtà, ma inserisce vita e realtà in un sistema di relazioni verbali>>.

La letteratura imita e ricostruisce nelle sue strutture verbali <<il sogno totale dell'uomo>>. Compito della critica è di mettere in chiaro quell'ordine di strutture. E il Frye costruisce allo scopo, un complesso sistema di simboli, modi, miti e generi, alla base dei quali sono facilmente riconoscibili gli archetipi di Jung. I miti della generazione e della morte, i ritmi della vita, del sogno e delle stagioni: sono queste le strutture fondamentali della realtà che la letteratura ricostruisce.

✵ 14. Luglio 1912 – 23. Gennaio 1991  •  Altri nomi Нортроп Фрай, Нортроп Фрај, ਨੋਰਥਰੋਪ ਫ੍ਰਾਈ
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Northrop Frye: 138 citazioni0 Mi piace

Northrop Frye Frasi e Citazioni

Northrop Frye: Frasi in inglese

“In society's eyes the virtue of saying the right thing at the right time is more important that the virtue of telling the whole truth, or even of telling the truth at all.”

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Northrop Frye

"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence

“Physics is an organized body of knowledge about nature, and a student of it says that he is learning physics, not nature. Art, like nature, has to be distinguished from the systematic study of it, which is criticism.”

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Northrop Frye

"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction

“The world of literature is human in shape”

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Northrop Frye

&quot;Quotes&quot;, The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html <br class="br">Contesto: The simple point is that literature belongs to the world man constructs, not to the world he sees; to his home, not his environment. Literature&#x27;s world is a concrete human world of immediate experience... The world of literature is human in shape, a world where the sun rises in the east and sets in the west over the edge of a flat earth in three dimensions, where the primary realities are not atoms or electrons but bodies, and the primary forces not energy or gravitation but love and death and passion and joy.

“A literary critic of experience never defines anything.”

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Northrop Frye

Origine: "Quotes", Interviews with Northrop Frye (2008), p. 4

“The operations of the human mind are also controlled by words of power, formulas that become a focus of mental activity.”

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Origine: "Quotes", The Great Code: The Bible and Literature (1982), Chapter One, p. 7

“Literature does not reflect life, but it doesn't escape or withdraw from life either: it swallows it.”

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Northrop Frye

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time

“What if criticism is a science as well as an art? Not a "pure" or "exact" science, of course, but these phrases belong to a nineteenth-century cosmology which is no longer with us.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction

“The Great Code was a silly and sloppy book. It was also a work of very great genius. The point is that genius is not enough. A book worthy of God and of Helen [Frye's wife] must do better than that.”

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Northrop Frye

1:160
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“Those who are concerned with the arts are often asked questions, not always sympathetic ones, about the use or value of what they are doing. It is probably impossible to answer such questions directly, or at any rate to answer the people who ask them.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction

“[Students] have to learn that ideas do not exist until they have been incorporated into words. Until that point you don’t know whether you are pregnant or just have gas on the stomach.”

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Origine: "Quotes", Interviews with Northrop Frye (2008), p. 746

“Failure to grasp centrifugal meaning is incomplete reading; failure to grasp centripetal meaning is incompetent reading.”

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Northrop Frye

Origine: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Three, p. 58

“Man lives, not directly or nakedly in nature like the animals, but within a mythological universe, a body of assumptions and beliefs developed from his existential concerns.”

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Northrop Frye

Introduction, p. xviii
"Quotes", The Great Code: The Bible and Literature (1982)

“I don`t want the reduction of religion to aesthetics, but the abolition of aesthetics & incorporating of art with the Word of God.”

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Origine: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 7

“One should have bigger & better conversions everyday, like a mechanized phoenix.”

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Northrop Frye

21.495
"Quotes", Notebooks

“It is of the essence of imaginative culture that is transcends the limits both of the naturally possible and of the morally acceptable.”

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Northrop Frye

"Quotes", Anatomy of Criticism: Four Essays (1957), Anagogic Phase: Symbol as Monad

“What’s transcendental in Blake is not the statically geometrical, but the sense of arrested energy: the wriggling vines & snakes, flames & the like…It’s an expression of the belief that every object is an event.”

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Origine: "Quotes", The "Third Book" Notebooks of Northrop Frye, 1964–1972 (2002), p. 14

“Everything that happens in the Old Testament is a "type" or adumbration of something that happens in the New Testament, and the whole subject is therefore called typology, though it is a typology in a special sense.”

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Origine: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Four, p. 79

“The human mind is [a poet's] individual mind at first, but as soon as he writes a poem it becomes our [the readers'] minds too. There is no self-expression in [a poet's] poem, because once the poem is there the individual [poet] has disappeared. …there is really no such thing as self-expression in literature.”

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"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time

“The kind of problem that literature raises is not the kind that you ever 'solve'. Whether my answers are any good or not, they represent a fair amount of thinking about the questions.”

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Northrop Frye

&quot;Quotes&quot;, The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html

“The apocalypse is the way the world looks after the ego has disappeared.”

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Origine: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Five, p. 158

“All texts are incarnational, and the climax of the entire Christian Bible, "the Word was made flesh, and dwelt among us," is the most logocentric sentence ever written.”

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Northrop Frye

1:154
"Quotes", Late Notebooks, 1982–1990: Architecture of the Spiritual World (2002)

“Between religion's "this is" and poetry's "but suppose this is" there must always be some kind of tension, until the possible and the actual meet at infinity.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Anagogic Phase: Symbol as Monad

“The bedrock of doubt is the total nothingness of death. Death is a leveler, not because everybody dies, but because nobody understands what death means.”

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Origine: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 230

“There is a curious law of art…that even the attempt to reproduce the act of seeing, when carried out with sufficient energy, tends to lose its realism and take on the unnatural glittering intensity of hallucination.”

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“Design as a Principle in the Arts”, The Critical Path and Other Writings on Critical Theory, 1963–1975, p. 232
"Quotes"

“Popular art is normally decried as vulgar by the cultivated people of its time; then it loses favour with its original audience as a new generation up; then it begins to merge into the softer lighting of "quaint" and cultivated people become interested in it, and finally it begins to take on the archaic dignity of the primitive.”

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"Quotes", Anatomy of Criticism: Four Essays (1957), Mythical Phase: Symbol as Archetype

“The disinterested imaginative core of mythology is what develops into literature, science, philosophy. Religion is applied mythology.”

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Northrop Frye

21.101
"Quotes", Notebooks

“I see a sequence of seven main phases: creation, revolution or exodus (Israel in Egypt), law, wisdom, prophecy, gospel, and apocalypse.”

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Origine: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Five, p. 106

“The fact that creative powers come from an area of the mind that seems to be independent of the conscious will, and often emerge with a good deal of emotional disturbance in their wake, provides the chief analogy between prophecy and the arts…Some people pursue wholeness and integration, others get smashed up, and fragments are rescued from the smash of an intensity that the wholeness and integration people do not reach.”

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Northrop Frye

"The Secular Scripture" and Other Writings on Critical Theory, 1976–1991, p. 164
"Quotes"

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