![]() A good poem is a good poem always and forever. begins by trying to derive the standard of criticism from the psychological effects of the poem and ends in impressionism and relativism with the result that the poem itself, as an object of specifically critical judgment, tends to disappear.' A large and obvious area of emotive import depends directly upon descriptive meaning (either with or without words of explicit valuation-as when a person says and is believed: 'General X ordered the execution of 50,000 civilian hostages,' or 'General X is guilty of the murder of 50,000 civilian hostages.' ' 347 'None of the examples offered by the semanticists offers any evidence, in short, that what a word does to a person is to be ascribed to anything except what it means denotative meaning, or if this connection is not apparent, at the most, by what it suggests connotative meaning. In two famous co-authored essaysThe 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. 'The Affective Fallacy is a confusion between the poem and its results (what it is and what it does), a special case of epistemological skepticism. ![]() Wimsatt and Beardsley on Wimsatt and Beardsley on 'The Affective Fallacy' Terms for the critical methods attacked by Wimsatt and Beardsley in this essay: affective criticism historical study of contemporary readers' response Plato's inspirational model of poesis and reception Aristotle's katharsis model of poetic effect the 'Sublime' physiological and psychological response theories of Semantics scholars.
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