the affective fallacy wimsatt and beardsley pdf free

Blavatsky writes: “A true Theosophist must put in practice the loftiest moral ideal, must strive to realize his unity with the whole of humanity, and work ceaselessly for others”.

Blavatsky, the controversial head of the turn of the century movement Theosophy, defined “A true Theosophist,” in her book, The Key to Theosophy, she could have just as easily have been describing W. To make reason hesitate in the face of a disconcerting spectacle: that would be the challenge for some romantic dramas, vacillating between the ' fantastic' and the 'marvelous,' between Gothic sources and the model of fairy-tale magic, necessarily constrained by the material limits of stagecraft, but always engaged in the totalizing project of capturing of 'reality'. The idea would be to create, in the text as well as on stage, by literary, visual, gestural, and musical means, a vision of unknown worlds, of internal or supra-natural universes. In her essay On Fantastic Drama, George Sand invited authors in 1839 to fashion a new language and a new form for contemporary theater that would bring to light the hidden dramas that. One often forgets how much the aesthetic of the fantastic, imported from England, Germany or Poland, nourished the creation of French romantic dramas by authors ranging from Nodier and Gautier to Dumas and Nerval. The author's intention, her emotional states or biographical details do not necessarily contribute to the interpretation but formulating a brand of literary criticism that denies the affective factors that influence both the reader's and the author's emotive architecture castoffs that mysterious force which attracts us to the experience of the art.

The paper argues the presence of a psychological unity that forms between the author, the text and the reader which transcends linguistic and formal aspects. Instances of enigmatic experiences from art cannot be fully credited to the individual reader's comprehension of the text nor any magic employed in the language. The aesthetic experience of artworks like drama would be incomplete without the process of identification and this bond is beyond the linguistic utterances present in the text. The outright rejection of the presence of the author in the aesthetic experience begs the question of the psychological effects of the reader and whether it has any relationship with the author's 'human' presence in the text.

The affective fallacy wimsatt and beardsley pdf free