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The Affective Fallacy Wimsatt And Beardsley Verification Or Argument.Kentucky: University of Kentucky Press, 1965. Hateful Contraries: Studies in Literature and Criticism. Kentucky: University of Kentucky Press, 1954. The Verbal Icon: Studies in the Meaning of Poetry. Beardsley.” The Norton Anthology of Theory and Criticism. New York: Columbia University Press, 2005. 'The Gender Fallacy', in Theory's Empire: An Anthology of Dissent. 'Form and Intent in the American New Criticism', in Blindness and Insight. Contemporary Literary Criticism: Literary and Cultural Studies. Davis, Robert Con, and Ronald Schleifer.Revised and republished in The Verbal Icon: Studies in the Meaning of Poetry, U of Kentucky P, 1954: 3-18.

'The Intentional Fallacy.' Sewanee Review, vol. The authors attempt to contribute to the “intelligibility in the history of literary argument” as well as “contributes to a distinct point of view,” which, they argue, is a necessary part of any historical literary studies (vii). Written with Cleanth Brooks in 1957, Literary Criticism: A Short History is intended as “a history of ideas about verbal art and about its elucidation and criticism” (Wimsatt and Brooks ix). For them, critical inquiries are resolved through evidence in and of the text - not “by consulting the oracle” (18). For Wimsatt and Beardsley, intentional criticism becomes subjective criticism, and so ceases to be criticism at all. Wimsatt and Beardsley consider this strategy a fallacy partly because it is impossible to determine the intention of the author - indeed, authors themselves are often unable to determine the “intention” of a poem - and partly because a poem, as an act that takes place between a poet and an audience, has an existence outside of both and thus its meaning can not be evaluated simply based on the intentions of or the effect on either the writer or the audience(see the section of this article entitled “The Affective Fallacy' for a discussion of the latter 5). The Intentional Fallacy, according to Wimsatt, derives from “confusion between the poem and its origins” ( Verbal Icon 21) – essentially, it occurs when a critic puts too much emphasis on personal, biographical, or what he calls “external” information when analyzing a work (they note that this is essentially the same as the “Genetic fallacy” in philosophical studies 21). Expression and Meaning in Bach Performance and Reception. You can download the paper by clicking the button above. Two Problems with a Neuroaesthetic Theory of Art. The Intentional and Affective Fallacy by Whimsatt and Beardsley Wimsatt and Breadsley have made best-known accusations of fallacy found in literary criticism based on writer’s intention and reader's response.

Wimsatt and Beardsley thus find themselves fighting on two fronts. The concept of affective fallacy is a direct attack.

Intentional fallacy: Intentional fallacy. Wimsatt and Beardsley on 'The Affective Fallacy' Terms for the critical methods attacked by Wimsatt and Beardsley in this essay: affective criticism historical study of contemporary readers' response Plato's inspirational model of poesis and reception Aristotle's katharsis model of poetic effect the 'Sublime' physiological and. With regard to intentional fallacy, Wimsatt and Beardsley stated, 'Critical inquiries are. New Criticism: Affective and Intentional Fallacies.

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