Reporte Lectura 3

Irasema Berenice Cázares Villanueva
1628781
Reporte de lectura 3. CRITICAL CONCEPTS

Affective fallacy.
In The Verbal Icon (1954), Wimsatt and Beardsley drew attention to what they saw as a common fallacy in
poetry criticism. They suggested that critics mistook the poem for its results or emotional impact on
themselves, focusing too much on the individual emotions and memories it evoked. They called it an
"emotional fallacy"; alternatively, they advocated a more objective form of criticism that would attempt to
explain and examine what was written in a detached way. His judgment is objectionable: the poem cannot
be completely separated from the reaction of the reader, but for all practical purposes it is advisable to
follow his advice. His position is the standard of academic critical practice: you will be dropped if you
become personal or personal enough in your answer. It's better to focus on the writing itself, trying to
understand how the poem works, rather than explaining your own feelings as you read the poem.
Allegory
Allegory, a symbolic fictional narrative that conveys a meaning not explicitly set forth in the narrative.
Allegory, which encompasses such forms as fable, parable, and apologue, may have meaning on two or more
levels that the reader can understand only through an interpretive process.
Allegory differs from symbolism in that in allegory there is affixed meaning behind the Surface meaning. In
symbolism the meaning behind the Surface meaning is elusive and cannot be translated into other terms. In
allegory we can state confidently what the precise meaning is that lies behind the surface, because we are
meant to see through the text to its underlying significance.
Allusion
An allusion is a passing reference to a person, place or evento beyond the obvious subject matter of a text,
or a reference within a text to another literary work. For example: Chocolate is his Kryptonite. In this
example, the word “kryptonite” alludes to, or hints at, the hero Superman.
Ambiguity
Ambiguity refers to the fact that words can often have several meanings, thus making us uncertain what is
meant. Ambiguity is central in poetry because poetry deals with the complexity of experience: the writer
tries to confront and understand an experience, but ambiguity acts as a counter force to this or ganising
impulse. As one Word suggests various or opposed meanings we come to feel how life burge ons beyond the
absolute control of the writer. The words have an indeterminacy which can help in corporate within a poem
a sense of the determinacy and complexity of life.
Archetype
An Archetype is a basic model from which copies are made. It can be argued that atthehear to fall works of
literature are certain simple patterns which embody fundamental human concerns, the primary concern
being the place of manin the natural world. The most basic archetype, a story of death and rebirth, expresses
the fond hope of man that he can find a pattern in human life that resembles the pattern of nature.
Conventions
A literary convention is a feature of a text which is in evidence in- a large number of texts. For example, there
are many poems written in fourteen lines and rhymed according to an established pattern.We Call Such
Poems Sonnets.
Didactic
In everyday usage didactic means ‘teaching a lesson’. As applied to a literary text, however, didactic means a
work dealing with a moral or religious or philosophical theme. Thus a great deal of medieval literature can be
described as didactic because it is concerned to explain the mysteries of Christianity.
Empathy And Sympathy

Empathy means ‘feeling into’, becoming totally absorbed in and physically participating in an object. For
example, in ‘Ode to a Nightingale’ (1820) Keats shares in the ecstasy of the bird’s flight away from mundane
reality and for a moment is totally caught up in its existence. Sympathy means ‘feeling with’ the emotions
and state of mind of, for example, a character in a play. The most obvious device for creating this effect is the
soliloquy where the hero addresses us alone on stage.
Fancy and imagination

Coleridge, in his literary autobiography Biographia Literaria (1817), argues that fancy and imagination are
two distinct mental processes producing two distinct types of poetry. Fancy he associates with light verse,
butall serious, passionate poetry comes from the imagination. He values the imagination so highly because
he sees it as a faculty which can unite separate elements: ‘It dissolves, diffuses, dissipates, in order to
recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and unify.’
Hermeneutics And Interpretation

Interpretation is concerned with clarifying the meaning of the work by analyzing its language and comment
in gonit. This is what we normally do both when we write an essay and when we do such exercises as
practical criticism. Hermeneutics, by contrast, refers to the general theory of interpretation, the procedures
and principles involved in getting at the meaning of texts. What we say about a text depends to a large
extent upon our ideas about what we're looking for.
Intentional fallacy
Intentional fallacy, term used in 20th-century literary criticism to describe the problem inherent in trying to
judge a work of art by assuming the intent or purpose of the artist who created it.
Irony
In simplest terms, irony occurs in literature AND in life whenever a person says something or does something
that departs from what they (or we) expect them to say or do. Just as there are countless ways of
misunderstanding the world [sorry kids], there are many different kinds of irony.
In Shakespeare's Romeo and Juliet, we—the audience—know that Juliet is not in fact dead at the end, only
drugged to appear in a deep, death-like sleep. But Romeo doesn't know that, so he kills himself. His suicide is
terribly ironic because Juliet is, in fact, alive and he killed himself for nothing.
Language And Style

In talking about literature we are, directly or indirectly, talking about language and the way in which
language is used. It might seem easier to concentrate on the content of a text, but we can never ignore, or at
least should try not to ignore,the fact that literary textsarebuiltoutofwords.
Metaphor
A metaphor is a figure of speech that makes a comparison between two non-similar things. As a literary
device, metaphor creates implicit comparisons without the express use of “like” or “as.” Metaphor is a
means of asserting that two things are identical in comparison rather than just similar. This is useful in
literature for using specific images or concepts to state abstract truths. Example: Laughter is the best
medicine.
Motif and theme

The theme of a work is the large idea or concept it is dealing with. In order to grasp the theme of a work we
have to stand back from the text and see whats or to f general experience or subject links all its details
together. The easiest way of doing this is to sum up the work in as few words as possible. For Example, we
can say that the theme of Shakespeare's Macbeth is evil.
Paradox
A paradox is a statement that contradicts itself. For example, the statement “I am not lying” is a paradox
because it means one cannot be telling the truth while saying they are not lying. The word derives from two
Greek words meaning “contrary to belief”.
Pathetic Fallacy
A Term Invented By The Nineteenth-century writer John Ruskin, who objected to the way in which poets
attributed human feelings and actions to natural objects. For example, Ruskin disliked Coleridge’s
description of a leaf ‘That dances soft enas dance it can’ (‘Christabel’, i, 1816), because it is false or fallacious:
leaves cannot dance.
Readerly/writerly
There aderley work is one that we passively consume because it seems to offer us a real world of characters
and events. The writerly text, however, forces us to produce its meaning rather than consume it.
Satire
Satire is a mode of writing in which social affectation and vice are ridiculed. The satirist mocks errant
individuals and the folly society, his purpose being to correct man’s conduct. The common feature of all
satirical works is that they present a picture of manin society, and by exaggerating or distorting the picture
draw attention to howman of ten acts in an outrageous or absurd manner.
The satirist, who can express his views in a poem, play, novel or essay, writes from a stance of moderation,
aiming to correct vice and folly. Satire is obviously a form of comic writing, but the distinction between satire
and comedy is that, whereas the satirist wishes to correct conduct, comedy takes the view that all human
conduct is absurd and self-interested.
Semiotics.
Semiotics means the study of signs. Morse code is a simple sign language in which the dashes and dots
represent letters. It is possible to say that everything in life sends out a coded message in a similar way: that
clothes, body gestures, and our social rituals all convey shared meanings to other people within our culture.
Semiotics is concerned with looking at this conveying of meanings.
Structure.
The structure of a text is its over all shape and pattern. This is sometimes referred to as its form, though
strictly speaking form is a more inclusive term which embraces every aspect of the work’s technique. There
are two basic types of pattern found in poetry, generally referred to as imposed form and organic form.
Imposed for miss pre-existing format: most poetry before about 1800 is written within received patterns,
such as the son netform, because it was recognised that the particular forms were suitable for certain
subjects and certain ideas,and the writer worked within these limits.

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Irasema Berenice Cázares Villanueva

Reporte de lectura 3. CRITICAL CONCEPTS

Empathy And Sympathy

Fancy and imagination

Hermeneutics And Interpretation

Language And Style

Motif and theme

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