"The more rigorously criticism historicizes a work of art, in the sense of lodging it in the context of the moment of its production, the less likely it becomes for criticism to be able to explain either its own subsequent interest in the work or the possibility of lay—that is, nonacademic—interest in reading it."

“Periodization sequesters human experience. The historicist separation of the past from the present prohibits empathy with the past and therefore precludes criticism in the present.”

“The social sciences, ultimately, are about patterns, rules, and phenomena available to certain objective forms of explanation; the humanities, especially the study of literature, are about exceptional cases, singular works, and individuals that require subjective understanding.”

“Periodization is the disciplinary strategy with which the present establishes its rule over all time and encourages conformism, to the detriment of autonomy, individual and aesthetic.”

“The failing of contemporary criticism is double: Hand in hand with the suppression of aesthetic autonomy, one finds also a growing reluctance to recognize the complex and dynamic temporality of literature. By dynamic temporality I mean that immanent sense of time within the literary work, its ability to reach backward, as part of a tradition, and forward, as a vehicle of innovation and anticipation. This sort of temporality is quite different from a single-minded and frequently reductionist focus on historical context.”

“The modern reading of ancient literature involves a mode of reception that is not merely scholarly or antiquarian. Instead, aesthetic experience allows for a direct relationship between reader and work, despite the historical distance. Today’s consumer cannot participate in the ancient economy by trying to use an Athenian coin as legal tender; but today’s reader can participate in the ancient literary imagination though an authentic engagement with the Homeric text . Thus the historicist imperative of periodization evidently stands at odds with the potential for immediacy associated with literary reception and aesthetic experience.”

“Benjamin describes the revolutionary moment when the past suddenly bursts into the present, as if rising from the grave to rectify the wrongs it suffered at the hands of a banally triumphant progress. Thus Benjamin’s historical materialism implies a capacity to link otherwise separate and distant moments in time through a profound empathy. The empathy takes on a revolutionary character by disrupting the regularity of quotidian temporality. Without this sort of tie to the past, no critical stance in the present is possible.”