![]() ![]() ![]() 59 William K Jr Wimsatt and Monroe C Beardsley, The Intentional Fallacy, The. ![]() As Jonathan Culler has commented, “In a sense, whatever critical affiliations we may proclaim, we are all New Critics now, in that it requires a strenuous consciousness of effort to escape notions of the autonomy of the literary work, the importance of demonstrating its unity, and the requirement of ‘close reading’” (Culler 1981: 3). ly more out of an urge to reinstate the human, affective dimension of the. Although none of the three essays are as commonly taught, nor as frequently referenced, as they were once, their ideas continue to lie at the heart of most literary criticism and instruction. This text has generated much less debate than the essays on the fallacies, but it did produce some heated discussion immediately following its publication. Wimsatt and Beardsley co-authored a third essay, “The concept of meter: An exercise in abstraction” (1959), which was reprinted in Wimsatt's Hateful Contraries in 1965. Originally published in the Sewanee Review in 1946, both essays were reprinted in their seminal formalist study, The Verbal Icon: Studies in the Meaning of Poetry (1954). William Kurtz Wimsatt (1907 – 75) and Monroe Curtis Beardsley (1915 – 85) are best known for their co-authorship of “The intentional fallacy” and “The affective fallacy,” essays that articulate what have come to be considered the fundamental tenets of the American New Criticism. In Aesthetics, Beardsley develops a philosophy of art that is sensitive to three things: (i) art itself and peoples pre-philosophical interest in and opinions about art, (ii) critics pronouncements about art, and (iii) developments in philosophy, especially, though not exclusively, those in the analytic tradition. ![]()
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