Titlebook: Counter-Modernism in Current Critical Theory; Geoffrey Thurley Book 1983 Geoffrey Thurley 1983 Dante Alighieri.drama.essay.Interpretation.

入会

人工制品

Exposition

https://doi.org/10.1007/978-3-322-95387-2tate a judgement, in the way that an analysis of a bicycle’s qualities produces certain judgements. To many critics, this will be a welcome conclusion, seeming to confirm a hostility to the use of value-judgements in criticism, and thereby to support the case of an ‘objective’ value-free criticism.

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stern society over the past two hundred years or so. Tolstoy, to my knowledge, was the first critic who sensed in the increasing emphasis on beauty as ultimate criterion in aesthetics a significantly modern development. In ., Tolstoy specifically relates the rise of aesthetics (the ‘science’ of beau

RENIN

Spina-Bifida

xt for what it is. This assumes, among other things, that the text . But this need not commit the empiricist to a pure textualism, as in fact Abrams and Hirsch tend to imply. Pure textualism is a scansion-theory that refuses to acknowledge the problem of interpretation. In fact many apparently textu

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Hemiplegia

he basis of the symbolic itself, discredit representation, undermine the authority of the sign and render final and irrevocable the severance of . from .. Now this is plainly, on the surface at least, more radical than anything attempted by Lévi-Strauss, and indeed contrary to the spirit of Lévi-Str

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he symbolist poets and Henri Bergson. Like the decadent idealists who trailed along in the wake of Schopenhauer at about the same time as symbolism arose, de-constructionism leaves the world unapproached: the world and its concerns must wait while the logomaniac de-constructionist goes through his m

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