Read more Chapter Philosophical and Aesthetic Ideas January 1983 David Thomas Ibsens major poetic dramas, Brand and Peer Gynt, were born of indignation.ĭenmarks humiliating defeat at the hands of the Prussians in 1864, and Norways failure to offer any assistance to the Danes in their hour of need, filled Ibsen with a deep sense of outrage (compounded perhaps by feelings of guilt at his own personal failure to offer any tangible assistance to his fellow Scandinavians).
To make reason hesitate in the face of a disconcerting spectacle: that would be the challenge for some romantic dramas, vacillating between the fantastic and the marvelous, between Gothic sources and the model of fairy-tale magic, necessarily constrained by the material limits of stagecraft, but always engaged in the totalizing project of capturing of reality.
The idea would be to create, in the text as well as on stage, by literary, visual, gestural, and musical means, a vision of unknown worlds, of internal or supra-natural universes. In her essay On Fantastic Drama, George Sand invited authors in 1839 to fashion a new language and a new form for contemporary theater that would bring to light the hidden dramas that. Totality and Infinity: An Essay on Exteriority. Beardsley View Jan 1957 Emmanuel Levinas Totality Infinity Levinas, Emmanuel. The Affective Fallacy Article Jan 1949 W.K. Request full-text PDF Citations (0) References (2) ResearchGate has not been able to resolve any citations for this publication. The Affective Fallacy Wimsatt And Beardsley Printer For Free No Fullĭiscover the worlds research 20 million members 135 million publications 700k research projects Join for free No full-text available To read the full-text of this research, you can request a copy directly from the author. The authors intention, her emotional states or biographical details do not necessarily contribute to the interpretation but formulating a brand of literary criticism that denies the affective factors that influence both the readers and the authors emotive architecture castoffs that mysterious force which attracts us to the experience of the art. The paper argues the presence of a psychological unity that forms between the author, the text and the reader which transcends linguistic and formal aspects.
Instances of enigmatic experiences from art cannot be fully credited to the individual readers comprehension of the text nor any magic employed in the language. The Affective Fallacy Wimsatt And Beardsley Printer For Free No Full.
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