- #The affective fallacy wimsatt and beardsley pdf free archive#
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It begins by trying to derive the standard of criticism from the psychological effects of the poem and ends in impressionism and relativism.Īnother point worth mentioning is the authors’ fear of “relativism,” which they argue is the unwanted consequence of both the Intentional and Affective Fallacies.
The Affective Fallacy is a confusion between the poem and its results, (what it is and what it does), a special case of epistemological scepticism. It begins by trying to derive the standard of criticism from the psychological causes of the poem and ends in biography and relativism. The following quote summarizes both positions and is from the introduction of “The Affective Fallacy”: The Intentional Fallacy is a confusion between the poem and its origins, a special case of what is known to philosophers as the Genetic Fallacy. The New Critics rejected expression theories and instead sought to direct critical attention to “the text itself.” In doing so, they also rejected “affective” theories, that is, criticism that begins with the private subjectivity of the critic, for example, her or his emotions, imaginative activities, or even physiology (e.g., Emily Dickinson’s “goosebumps”). The “Intentional and Affective Fallacies” Both papers were first written in the 1940s and revised and republished in 1954, so they are hardly the cutting edge of literary theory and in fact pre-date the Grand Theory movement in literature in the 1970s and 80s (e.g., deconstruction, feminism, postcolonialism, Marxism, etc.). Again, this is all very speculative and playful for now. Representing this approach, I will work with a seminal pair of papers in literary theory called “The Intentional Fallacy” and “The Affective Fallacy” by Wimsatt and Beardsley, as my primary sources for this position, though I will also explore what it means to apply this work of literary theory to design (since literature and design seem to be two different sorts of thing). The alternative view that I wish to explore dispenses with such subjective qualities and seeks meaning only in the qualities of the artifact itself. Such intentions and felt experiences may include cognitive states, affective states, assumptions and values, predispositions, aspirations, and so forth. Man.What I am interested in is how seriously we (as researchers, practitioners, users, and members of society) should seek to understand and factor in the intentions of the designers who made them and the felt experiences of those who use them. We might as well study the properties of wine by get The Johns Hopkins University Pressis collaborating with JSTOR toĭigitize, preserve and extend access to The For more information about JSTOR, please contact Technology and tools to increase productivity and facilitate new Researchers, and students discover, use, and build upon a wideĬontent in a trusted digital archive. JSTOR is a not-for-profit service that helps scholars, Same copyright notice that appears on the screen or printed
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#The affective fallacy wimsatt and beardsley pdf free archive#
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C.īeardsleySource: The Sewanee Review, Vol.
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