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Disciplines linguistics; cognitive psychology; artificial intelligence;
sociology; anthropologyliterary criticism; poetics' rhetoric; stylistics; literary
history; aesthetics
• Poirier: Literature has only one responsibility--to be compelled and compelling about its own inventions
• Bloom: A theory of poetry must belong to poetry, must be poetry, before it can be of any use in interpreting poems.
• Scholes: Once we knew that fiction was about life and criticism was about fiction--and everything was simple. Now we know that fiction is about other fiction, is criticism in fact, or metafiction. And we know that criticism is about the impossibility of anything being about life, really, or even about fiction, or, finally, about anything. Criticism has taken the very idea of "aboutness" away from us. It has taught us that language is tautological, if it is not nonsense, and to the extent that it is about anything it is about itself. Mathematics is about mathematics, poetry is about poetry and criticism is about the impossibility of its own existence
We are often compelled, for example, to say things
about the poem, or the words in it, which are only true of the effects of the poem on the minds of its readers... We speak of
the poem’s beauty instead of entering upon
elaborate and speculative analyses of its effect upon us... we come temporarily to think that the virtues of a poem lie not in its power
over us, but in its own structure and
conformation as an assemblage of verbal
sounds
technical v. critical remarks
– Jonathan Culler: structure => theory of reading (Freund, p. 79)
– Stanley Fish: interpretive community
but cf. Mary Louise Pratt: linguistics of contact
– Norman Holland: psychoanalytic criticism
– Roman Ingarden: phenomenological: intentional creation of text
• Wolfgang Iser: reception theory
– Implied Reader (Tompkins); Act of Reading (Suleiman & C)
– art as defamiliarizing
– situated evaluation figures
– hermeneutic circle
– illusion-making
– dialectical structure of reading
– Gestalt psychology: the shifting blank
• Social Interaction Model
– "Freckle Juice": my entry point
interactions of author/reader
– Rip Van Winkle: intro
– Sokolov: multiple embedding
– McPhee (Pine Barrens):
– Homer (Odyssey)
– Balzac (S/Z): "as though"
– Potter: "am sorry"
– McPhee (Bark Canoe): roles
– Kundera: I understood
– purposes
Mid-1700s
• breakdown of patronage system• commercial printing • large reading public• mass education/standardization
unknown reader => shift to author
• direct to psychic life of individuals; indirect good
• Shelly: Eternal poets scorn to affect a moral aim
• deification of poetry
=> ordinary language v literary language
• New Criticism (focus on text; formal properties)
• competition from science
• Brooks & Warren: Study poetry as poetry
• A poem should not mean but be
Wellek & Warren: The statements in a novel, in a poem, in a drama are not
literally true => not logical propositions
Rhetoric of inquiry
• appeal to objective authority & denunciation of rhetoric => one of most effective rhetorical strategies available
• unity: all fields are rhetorical
• Donald McCloskey: economics
• Clifford Geertz, James Clifford, George Marcus, Mary Louise Pratt, Renato Rosaldo: anthropology
• Charles Bazerman, Bruno Latour, Stephen Woolgar, Michael Lynch: science
• Gerd Gigerenzer, David Murray: statistics in social sciences
recognize that tropes are neither natural, nor in many cases unique to
discipline• Laboratory Science (Latour & Woolgar)