20世纪西方人文主义

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2023年我的本科最后一节课（谁能想到是为了凑足我的14学分课程），第一次（或者第二次，待考证）的课堂作业笔记，还有一些是我不认识的英文单词。太难堪了。最可怕的是我竟然没有使用GPT大杀器 （换做现在...），可以看出当时是真的很人道了。

• ascertain: 查明，弄清楚
• organic unity! 有机结合
• fallacy: 谬误，错误的推理
• affective：情感的
• affective fallacy:
  • affective fallacy, according to the followers of New Criticism, the misconception that arises from judging a poem by the emotional effect that it produces in the reader. The concept of affective fallacy is a direct attack on impressionistic criticism, which argues that the reader’s response to a poem is the ultimate indication of its value.
• salient: 显著的，明显的；
• terminology：术语
• diction: 措辞
• contiguous: 毗邻的
• rhetorical: 修辞的
• That literature is not a surrogate(替代品) for religion
• contemplative： 沉思的
• reverence：尊敬的
• biographical：传记的

• belle lettristic？

  • ？a literary mode that originated in 17th-century France, signified writing in the style and service of cultivated society.

• Russian formalism vs new criticism

  • consider Literature on its own terms ( get rid of politics, history, religion externalities.)

Understanding New Criticism： Ambiguity • It occurs when a word, image, or event generates two or more different meaning. Example: “Thanks for dinner. I’ve never seen potatoes cooked like that before.” (Jonah Baldwin in the film Sleepless in Seattle, 1993) Paradox • It typically arise from false assumptions, which then lead to inconsistencies between observed and expected behavior. Example: “Someday you will be old enough to start reading fairy tales again.” (C.S. Lewis to his godchild, Lucy Barfield, to whom he dedicated The Lion, the Witch and the Wardrobe) Irony • a figure of speech in which words are used in such a way that their intended meaning is different from the actual meaning of the words. Example: “Once in the winter the rector would come to dine, and her husband would beg her to go over the list and see that no divorcees were included, except those who had showed signs of penitence by being remarried to very wealthy” (Edith Wharton’s House of Mirth (1905)

“The ideology of New Criticism began to crystallize: scientific rationalism was ravaging the “aesthetic life” of the old South, human experience was being stripped of its sensuous particularity, and poetry was a possible solution. The poetic response, unlike the scientific, respected the sensuous integrity of its object: it was not a matter of rational cognition but an affective affair which linked us to the “world’s body” in an essentially religious bond. Through art, an alienated world could be restored to us in all its rich variousness. Poetry, as an essentially contemplative mode, would spur us not to change the world but to reverence it for what it was, teach us to approach it with a disinterested humility.” --- Terry Eagleton, Literary Theory, An Introduction, p 40.

Question: Explain and illustrate two of the following five literary terminologies endemic to New Criticism: irony, tension, ambiguity, the intentional fallacy and the affective fallacy. Your answer should be around 200 words.

Affective fallacy: New critics takes the emotional effect that poems exert on readers as some kind of misconception. To them, the only thing that matters is the text itself, which symphasizes on the independence of text from extrinstic elements like authors' experience, historical background and relions. These extrinstic factors violate the purity of dictions and are less important than the phrases and words, thus confused the text with the emotional and psychological response of its readers. As Eliot put it, the only legitimate context is the "organic wholes" of literature itself. The focus of the literary can and only can be the text, regardless of historical, social, religionious factors. A great metaphor given by Wimsatt and Beardsley, who first put the term forward, said that "...text was an autonomous entity, independent of both author and reader, and its merit and meaning was considered to be inherent and not attributed. ". They expelled the readers and leave text alone.

Intentional fallacy: It's a term used by new critics in 20th century. Formulated by Wimsat and Beardsley in 1946, the term was to describe such a mistake that critics attempt to understand the intentions of the autors while interpreting the literary work. In fact, in their perspective, the judgement of intention of the author is not desirable and even unavailable, which just reflects their advocate of "autotetic text". T.S Eliot argued in 1919 that "Honest criticism... are directed not upon the poet but upon the poetry". The Intentional fallacy is a clear reject of romantic concept of literature as a vehicle of personal expression. Just like Affective Fallacy, the goal of advocating Intentional is to defend the purity of text. The new critics not only said No to the interference of readers, but also put authors in a distant position. By doing so, the text can finally "be an organic text"