Literature emerges from an amalgamation of external influence, literary form, readership, and authorial intent (Tyson 136). New Criticism asserts that only analysis of concrete and specific examples existing within the text can accurately assess literary work (135). New Criticism also discounts authorial agency and cultural force that informs construction of a text. New Critics believe sources of external evidence produce intentional fallacy, the flawed acceptance of the author’s intention as the
In their essay, ‘The Intentional Fallacy’ (1946), William K. Wimsatt Jr. and Monroe C. Beardsley, two of the most eminent figures of the New Criticism school of thought of Literary Criticism, argue that the ‘intention’ of the author is not a necessary factor in the reading of a text. During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed
Literature emerges as an assemblage of external influence, literary form, readership, and authorial intent (Tyson 136). New Criticism asserts that only the analysis of literary form, being concrete and specific examples that exist within the text (135), can accurately assess a literary work. New Criticism discounts authorial agency and cultural force that informs the construction of a given text. New Critics believe that these sources of external evidence produce intentional fallacy, the flawed acceptance
The character of the Wife of Bath is clearly feminist. She indicates this by her extreme ideas of female “maistrye” and statements such as “I have the power duringe al my lyf upon his proper body, and nought he,” which is extremely feminist. However, Chaucer makes us see the Wife of Bath as inconsistent, at times illogical, and also amoral and adulterous, The prologue and tale is spoken by a woman of supposed vast experience, yet was written by a man. While the prologue and tale may be seemingly
active role that seduction plays in the passionate lives of the heroines presented in the writing of "the undisputed Queen of Romance," Eliza Haywood. Ros Ballaster's primary argument refers to Eliza Haywood's "creation of a specifically feminine authorial persona with a direct address to female readers, which is seen both as a form of scandalous prostitution and a seduction of other women." (53) Ballaster asserts that, though her work undergoes a well-defined stylistic change, related to the moral
Authorial Comments in A Squatter’s Tale According to Charles Bohner and Dean Dougherty authorial comment is: An explanatory remark obviously put into the narration by the author. Authorial commentary tells us what to think instead of showing us. (1212) Authorial comment, as clearly defined above, is an artistic device used by authors to paint a vivid picture of a point they are trying to make. This gives the reader of a text the opportunity to deduce the point. Comments made in literary
and “The Crack-Up,” “Pasting it Together,” and “Handle with Care” appeared in the magazine in February, March, and April of 1936, respectively. The essays dealt with the “lesion of confidence” (Bruccoli 405) and the crippling sense of spiritual, authorial, and personal emptiness from which Fitzgerald was suffering during this period of his life. Their brutal honesty and the radical departure they meant for Fitzgerald as a literary figure elicited various reactions from his contemporaries and critics
household. Studying for a test can cause lack of sleep, and ultimately poorer health. Throwing away the remains of an unfinished dinner plate discards what could have been valuable nutrients for starving children in Africa. How one determines intentionality of an action has been a controversial topic for many. Joshua Knobe has conducted experiments for explaining the proper analysis of intentional action, while Uttich and Lombrozo have conducted experiments exploring the relationship between norms
In a novel as consummately constructed as this one is, we are tempted to look for places where the undercurrents of the text, the places where the text takes on its own life and force, run against, or at least complicate, the discernment of authorial judgment. By closely examining Tolstoy's treatment of Anna's moral crisis as compared with his handling of Levin, we might attempt to unravel the book's rather layered and complex system of condemnation. The novel's epigraph sets a certain
Beware of Your Washing Machine and its Shiftless Partner, the Dryer Professor’s comment: This student’s writing embodies a peculiar configuration of literary polish, linguistic facility, playful authorial self-awareness, and unadulterated goofiness. It is proudly, but not without trepidation, that I submit this essay to 123HelpMe and unleash the elegant lunacy of Rob Geis upon an unsuspecting world. Around the world, across America, even here in town, there is a crime occurring—a robbery
"enlarged"); and that this quarto does not include some lines from the "perfect Coppie" (since it is "almost as much"). Indeed, a First Quarto exists dated a year earlier (1603); Q1 is shorter some 1600 lines; and the Folio does restore certain seemingly authorial passages. It appears as if "I.R.," the printer, or "N.L.," the publisher, is correct on all possible counts. We cannot even condemn I.R. or N.L. for self-interested advertising. They admit that their copy is "almost," but not quite, "perfect."* Thus
Consciousness and Intentionality of Action ABSTRACT: One much discussed issue in contemporary philosophy is the relation between consciousness and intentionality. Philosophers debate whether consciousness and intentionality are somehow ‘connected’; whether we have reason to be more optimistic about an ‘objective,’ ‘scientific’ or ‘third person’ ‘account’ of intentionality than about an analogous account of consciousness. This paper is intended as a limited contribution to that debate. I shall
seems evident at this point that a human mind is not... ... middle of paper ... ... the same thing that Searle does in his work: intentionality. I do not think that understanding synonymous with intentionality. In fact, I think that intentionality is the only definite way to get out of the double bind and still prove the Chinese room argument to be true. Intentionality is not a form of understanding, but rather seems to be a form of consciousness that is something a human can explain, but not ascribe
modes, novels that altered or abolished fictional elements such as character, plot, setting, point of view, and chronological time in favor of repetitions, an absence of emotion, minute objective and sometimes geometric descriptions, the lack of authorial analysis, and the deconstruction of time. His films also reflect his desire to challenge the conventions of filmmaking, but he is recognized principally as a novelist. The novels of Robbe-Grillet all challenge their readers to reevaluate the way
involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery
largely tell tales that conform to their personal experiences or attitudes, such as the Merchant, whose awful marriage is the occasion for his tale about a difficult wife. In most cases the influence of the narrator on his tale is apparent, but the authorial touch lightly felt. The Merchant's Tale, for example, gains little from the prologue's information that the Merchant is disenchanted with his own marriage. Only a few of these tales exist largely as extensions of the characters who tell them; the
John Searle is an American philosopher who is best known for his thought experiment on The Chinese Room Argument. This argument is used in order to show that computers cannot process what they comprehend and that what computers do does not explain human understanding. The question of “Do computers have the ability to think?” is a very conflicting argument that causes a lot of debate between philosophers in the study of Artificial Intelligence—a belief that machines can imitate human performance—
The ability of understanding intentions of others is very important for social development of children (Feinfield, Lee, Flavell, Green, & Flavell, 1999). By means of understanding intentions children can make sense of that people and animates are different from objects (Feinfield, et al., 1999). According to Shantz (1983), this ability is the requisite to understand morality and responsibility. To understand plans and planning we also need to have the ability of understanding intentions (Feinfield
originated this concept of geometry in 300 B.C, but that is still a historical aspect that Husserl seems to be unconcerned with. Now I will try to apply Husserl’s framework of the life-world (as experienced in everyday life) and the theory of intentionality to an ideal object. First, however, a few terms need to be clarified. Ideal is different from real. Real involves “facts,” which are concrete objects or events. Ideal involves essences, or universals, which include species, properties, and
John Searle's Chinese Room Argument The purpose of this paper is to present John Searle’s Chinese room argument in which it challenges the notions of the computational paradigm, specifically the ability of intentionality. Then I will outline two of the commentaries following, the first by Bruce Bridgeman, which is in opposition to Searle and uses the super robot to exemplify his point. Then I will discuss John Eccles’ response, which entails a general agreement with Searle with a few objections