Principles of Literary CriticsimAllied Publishers |
Innehåll
CHAPTER PAGE 1 THE CHAOS OF CRITICAL THEORIES | 1 |
THE PHANTOM AESTHETIC STATE | 6 |
THE LANGUAGE OF CRITICISM | 12 |
COMMUNICATION AND THE ARTIST | 17 |
THE IMPASSE OF MUSICAL THEORY | 20 |
THE CRITICS CONCERN WITH VALUE | 24 |
JUDGEMENT AND DIVERGENT READINGS | 26 |
VALUE AS AN ULTIMATE IDEA | 28 |
POETRY FOR POETRYS SAKE | 54 |
A SKETCH FOR A PSYCHOLOGY | 62 |
PLEASURE | 70 |
EMOTION AND THE COENESTHESLA | 75 |
MEMORY | 79 |
ATTITUDES | 82 |
THE ANALYSIS OF A POEM | 87 |
RHYTHM AND METRE | 103 |
THE IMAGINATION | 32 |
A PSYCHOLOGICAL THEORY OF VALUE | 33 |
ART AND MORALS | 44 |
ACTUAL AND POSSIBLE MISAPPREHENSIONS | 48 |
ON LOOKING AT A PICTURE | 113 |
SCULPTURE AND THE CONSTRUCTION OF FORM | 124 |
THE TWO USES OF Language | 206 |
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activity actual aesthetic analysis appear arise Aristotle artist arts attitudes Beauty become behaviour belief Biographia Literaria C. K. Ogden cause Chapter character Clive Bell Coleridge colour communication complex confusion connection consciousness course critical theory criticism definite degree depends difficult discussion effects elements emotion example explain fact feeling further human imagery imagination important impulses instance interpretation involved J. B. S. Haldane judgement JULES ROMAINS kind less matter Matthew Arnold means mental event merely metre metrists mind mnemic moral movement nature nervous system object onomatopoeia organization peculiar perhaps perience persons picture picture-space pleasure poem poet poetic experience poetry possible present problem psychology reader reading reasons reference relations remarks response rhythm sensations sense sensory sound stimulus systematization theory of value things thought tion Tragedy true ulterior ends unconscious usually valuable varied Vernon Lee whole words