But it follows that his former concrete intention was not his intention. Revised and republished in The Verbal Icon: And a critic who is concerned with evidence of type 1 and moderately with that of type 3 will in the long run produce a different sort of comment from that of the critic who is concerned with 2 and with 3 where it shades into 2.
Literary and Cultural Studies.
Broad considerations of the intention behind the poem may legitimately help us clarify such issues. He was a member of the Connecticut Academy of Arts and Sciences. Recourse to intention can yield necessary insight into the relations between form and content, as well as relations between an artist and his audience.
The latter pair of propositions a sort of Hartleyan associationism which Coleridge himself repudiated in the Biographia may not be assented to. Perhaps the most fundamental objection is the impossibility and artificiality of treating literature as a self-contained object, an object which is not somehow realized in its performance, in interaction with readers who legitimately bring to the texts their own cultural backgrounds, interests, and assumptions.
The argument is plausible and rests on a well substantiated thesis that Donne was deeply interested in the new astronomy and its repercussions in the theological realm.
There is a sense in which an author, by revision, may better achieve his original intention. The meaning of a poem may certainly be a personal one, in the sense that a poem expresses a personality or state of soul rather than a physical object like an apple.
Cambridge School Contextualism[ edit ] Main article: Moreover, the insistence on the text as an isolated object in itself effectively represents a philosophical regression to a world atomistically conceived as composed of separate and independent objects; despite its persistence on many levels of ideology and politics, it is a view that has been discredited by many thinkers, from Hegel and Marxthrough BergsonSartreand Derrida.
Perhaps a person who has read Bartrarn appreciates the poem more than one who has not. Through studies of works by T. It is assumed that the author might have regretted not beginning a new paragraph, but did not see this problem until afterwards, until rereading.
The young imagination fired by Wordsworth and Carlyle is probably closer to the verge of producing a poem than the mind 8 of the student who has been sobered by Aristotle or Richards.
It is embodied in language, the peculiar possession of the public, and it is about the human being, an object of public knowledge. Wimsatt does allow for a certain degree of variation in the analysis of poetry and does not necessarily contend that there is only one possible reading for any given poem.
There is no evidence, they argue, that what a word does to a person is to be ascribed to anything except what it means, or what it suggests VI, 22, Will you believe me? Was his plan reasonable and sensible, and how far did he succeed in carrying it out?Intentional fallacy: Intentional fallacy, term used in 20th-century literary criticism to describe the problem inherent in trying to judge a work of art by assuming the intent or purpose of the artist who created it.
Introduced by W.K. Wimsatt, Jr., and Monroe C. Beardsley in The Verbal Icon (), the approach was a.
In their essay, ‘The Intentional Fallacy’ (), William K. Wimsatt Jr. and Monroe C. Beardsley, two of the most eminent figures of the New Criticism school of thought of Literary Criticism, argue that the ‘intention’ of the author is not a necessary factor in the reading of a text.
Wimsatt and Beardsley use T.S. Eliot's The Waste Land as an example of why it's important to delineate between the author's mind and the poem as it exists. In the article, Wimsatt and Beardsley write,' the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art, and it seems to us that this is a principle which goes deep into some differences in the history of critical attitudes.
Wimsatt, Jr., and Monroe C. Beardsley. Lexington It is not so much a historical statement as a definition to say that the intentional fallacy is a romantic one.
With such passages as a point of departure a critic may write a nice analysis of the meaning or "spirit" of a play by Shakespeare or Corneille ‑a.
An Analysis of The Intentional Fallacy, by Wimsatt and Beardsley Words Jun 19th, 10 Pages In their essay, ‘The Intentional Fallacy’ (), William K. Wimsatt Jr.
and Monroe C. Beardsley, two of the most eminent figures of the New Criticism school of thought of Literary Criticism, argue that the ‘intention’ of the author is not a necessary .Download