Dod Flip Ifr Supplement Pdf Printer. The Affective Fallacy. Author(s): W. Beardsley Source: The Sewanee Review, Vol. 1 (Winter, 1949), pp. 31-55 Published by: The Johns. Wimsatt and Beardsley were New Critics: The Extreme Version. In two famous co-authored essays—'The Affective Fallacy' (1949) and 'The Intentional Fallacy' (1954)—these American wonder critics put out the idea that if a work of art is good enough, it will stand the test of time.

Monroe Beardsley (1915–1985) was born and raised in Bridgeport, Connecticut, and educated at Yale University (B.A. He taught at a number of colleges and universities, including Mt. Holyoke College and Yale University, but most of his career was spent at Swarthmore College (22 years) and Temple University (16 years). Beardsley is best known for his work in aesthetics—and this article will deal exclusively with his work in that area—but he was an extremely intellectually curious man, and published articles in a number of areas, including the philosophy of history, action theory, and the history of modern philosophy. Three books and a number of articles form the core of Beardsley's work in aesthetics. Of the books, the first, Aesthetics: Problems in the Philosophy of Criticism (1958; reissued with a postscript, 1981), is by far the most substantial, comprehensive, and influential. More than that, it's also the first systematic, well-argued, and critically informed philosophy of art in the analytic tradition.

Given the wide range of topics covered in Aesthetics, the intelligent and philosophically informed treatment accorded them, the historically unprecedented nature of the work, and its effect on subsequent developments in the field, a number of philosophers, including some of Beardsley's critics, have argued that Aesthetics is the most impressive and important book of 20 th century analytic aesthetics. The Possibility of Criticism, the second of the three books, is more modest in scope and less groundbreaking. Exclusively concerned with literary criticism, it limits itself to four problems: the ‘self-sufficiency’ of a literary text, the nature of literary interpretation, judging literary texts, and bad poetry. The last of the books, The Aesthetic Point of View, is a collection of papers, most old, some new. Fourteen papers, largely on the nature of the aesthetic and art criticism, are reprinted, and six new pieces are added.

The new pieces are of special interest, because they constitute Beardsley's final word on the topics covered, and the topics are themselves central ones: aesthetic experience, the definition of art, judgments of value, reasons in art criticism, artists' intentions and interpretation, and art and culture. In Aesthetics, Beardsley develops a philosophy of art that is sensitive to three things: (i) art itself and people's 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. To explain each of these elements further: (i) In the late 1940s and early 1950s, the time at which Beardsley developed his philosophy of art, there were developments in the arts—new forms in music, painting, and literature had appeared and were appearing—but there was also a well established and relatively large canon of works almost universally regarded as aesthetically superior and worthy of attention.

(ii) Art criticism had become an industry, with major schools of all sorts flourishing: Marxist, Formalist, psychoanalytic, semiotic, historical, biographical. (iii) And philosophy had changed in rapid and unexpected ways. Analytic philosophy, with its emphasis on language and strong empiricist tendencies, had gained ascendancy in American universities in little more than 20 years, and dominated the philosophical scene. Beardsley responded to each of the three. Hp D33005 Drivers Download. His position on developments in the arts is probably best described as open-minded moderation. Laser Canon Shot Lbp 1120 Drivers.

He welcomed new developments, and reference to new works and works that lack the luster of fame, notoriety, or ready recognition appear frequently in Aesthetics and his other work. He didn't automatically embrace the latest fad, fashion, or movement, however, but tried, as he said, to get something out of a work. As for art criticism, the school of criticism that attracted Beardsley, and that his philosophy of art ultimately underwrites, is the so-called New Criticism.