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Please refer to the appropriate style manual or other sources if you have any questions.The concept of affective fallacy is a direct attack on impressionistic criticism, which argues that the readers response to a poem is the ultimate indication of its value.Those who support the affective criterion for judging poetry cite its long and respectable history, beginning with Aristotles dictum that the purpose of tragedy is to evoke terror and pity.
The Affective Fallacy Wimsatt And Beardsley Files Manual Or Other![]() Emily Dickinson said, If I feel physically as if the top of my head were taken off, I know that is poetry. Many modern critics continue to assert that emotional communication and response cannot be separated from the evaluation of a poem. It was opposed to the critical practice of bringing historical or biographical data to. His tale The Murders in the Rue Morgue (1841) initiated the modern detective story, and the atmosphere. With Walt Whitman, Dickinson is widely considered to be one of the two leading. Wimsatts The Verbal Icon, 1954, was co-written by Beardsley. In this book, Wimsatt brought out the idea of Intentional Fallacy. It is based upon a rejection of the omniscience of an author over a text. It argues that an authors intention or design should not influence the reading of a text. The implication is the evaluation of a text is independent of the authors intent. It also means that the act of reading is an autonomous activity which is not controlled by the authors intent. Intentional Fallacy tells that the relationship between a text and its audience is independent of the authors presence. ![]() Affective Fallacy refers to the error of evaluating a text through the emotional response of the reader. ![]() So the act of reading should not be tainted by feelings of the reader for the text. The act of reading should be pure and must maintain a certain level of clinical accuracy rather than sentimental indulgence on readers side. At the same time readership should be rooted in the mind rather than the heart. The act of reading is a cerebral activity instead of an emotional activity. It refers to a degree of precision that does not contribute anything to the argument but it is for its own sake. It implies that the concrete universal is aesthetic rather than practical in nature. Here, he argued that artistic entity should not be reduced to only aesthetical effects. Wimsatt include Hateful Contraries (1965), The Verbal Icon, (1954).
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