For Wimsatt, the fallacy led to a number of potential errors, most of them related to emotional relativism. This definition of the fallacy, if strictly followed, touches on or wholly includes nearly all of the major modes of literary criticism, from 's docere delictendo (to teach by delighting), 's, and 's concept of 'transport' to late-nineteenth century and the contemporary. Wimsatt used the term to refer to all forms of criticism that understood a text's effect upon the reader to be the primary route to analyzing the importance and success of that text. First defined in an article published in The Sewanee Review in 1949, the concept of an affective fallacy was most clearly articulated in The Verbal Icon, Wimsatt's collection of essays published in 1954. The concept was presented after the authors had presented their paper on The Intentionalist Fallacy. It is the antithesis of affective criticism, which is the practice of evaluating the effect that a literary work has on its reader or audience. Concept The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value.
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