“The Intentional Fallacy” was published by W.K. Wimsatt, Jr. and Monroe C. Beardsley in their book The Verbal Icon in It is widely considered a landmark. Intentional Fallacy. William K. Wimsatt Jr. & Monroe C. Beardsley., revised in. The claim of the author’s “intention” upon the critic’s judgement has been chal-. Introduced by W.K. Wimsatt, Jr., and Monroe C. Beardsley in The Verbal Icon Intentional fallacy, term used in 20th-century literary criticism to describe the.
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In a sense, attempting to learn what a particular image is alluding to is an attempt to find out the author’s intention. Goodreads helps you keep track of books you want to read. Revised and republished in The Verbal Icon: Georgia Goldberg rated it liked it Mar 01, No trivia or quizzes yet.
William K. Wimsatt
It was quite a superb base for critically analysing Mary Shelley’s Frankenstein and was a large part of my Extension English assignment this year, strongly recommend for anyone who is dunce enough to do that subject.
Epistemology, the philosophical study of the nature, origin, and limits of human knowledge. A third type of literary evidence also derives from the “private” experience of the writer but since it can fallacj an understanding of the linguistic facts of literature, Wimsatt and Beardsley term it “intermediate” evidence.
Reading a poem, one may contemplate the author’s intentinal for his piece of work: Feb 06, Arya rated it it was amazing. What if the work intended to be bad? The second type of evidence defined by Wimsatt and Beardsley is “external” to the text.
Eliot’s “The Waste Land”. Beardsley in The Verbal Iconthe approach was a reaction to the popular belief that to know what the author intended—what he had in mind at the time of writing—was to know the correct interpretation of the work.
Nikhilesh rated it liked it Mar 31, Although a literary work has an individual author, that fact should not distract the reader from exploring the public meaning accessible through the organic structure of the text. Building upon their discussion of the challenges of reading Donne’s poem, Itnentional and Beardsley conclude their essay by assessing more generally the challenge of responding to allusions encountered in literature.
But whether or not that intent made its way into the work is irrelevant.
Faiqa Mansab rated it it was amazing Aug 25, Grey Nutter rated it liked it Jan 05, Assumptions such as these are what W. A critical reader may be tempted to use this reflection to argue that the poem is in intentkonal sense “about” Donne’s interest in the new science of the Renaissance, or about the changing worldview of the Renaissance.
That a reader may overlook an allusion and still acquire its significance illustrates that primary experience of literary meaning derives from the internal evidence of form and structure. Thus we use other criteria. Two scholars of the twentieth century New Critics, William Wimsatt and Monroe Beardsley, organized the anti-intentional side into an essay titled The Intentional Fallacy.
Alana rated it liked it Aug 23, Refresh and try again. Art needs to be respected as an autonomous object.
A pastiche of critical opinions is not what critical enquiry means. It is the reader’s job falalcy uncover the truth of literature not by “consulting the oracle”but by looking carefully at the internal evidence of the text’s form. At the bottom of the article, feel free to list any sources that support your changes, so that we can fully understand their context.
Unfortunately, our editorial approach may not be able to accommodate all contributions. InWimsatt joined the English department at Yale, where he taught until his death in Wimsatt questions the ability of a poem to function aesthetically in the same way as a painting or sculpture.
We welcome suggested improvements to any of our articles. For Wimsatt and Beardsley, intentional criticism becomes wwimsatt criticism, and so ceases to be criticism at all. It refers to the error of placing too much emphasis on the effect that a poem has on its audience when analyzing it.
There is a gross body of life, of sensory and mental experience, which falacy behind and in some cases causes every wimsart, but can never be and need not be known in the verbal and hence intellectual composition which is the poem. It applies, as a term, to any argumentation about literature, whether or not specific works are analyzed.
Intentional fallacy | literary criticism |
More importantly, language does not function merely on the level of its effects on the senses, as for example visual modes do. Who cares what the writer meant? Thank you for your feedback. Olga Tsygankova rated it really liked it Sep 30,