 |
|
|
|
|
|
|
 |
| arnold to foucault |
| PAGE THREE |
| Arnold |
|
| Ancient/ /Modern |
| Universal/ Particular |
| Morality |
| Poetics |
| Beauty |
| Instruct/ Delight |
| Truth/ Lies |
|
| Imitation/ Creativity |
| Universal; forget particular |
| Both if the work is truly universal |
| Truth in universal (Ideals), not particulars |
| No creation; imitate humanity well |
| Universal is beautiful |
| none |
| don't bring politics into it |
| ancients were good, but so are moderns; write present, not past |
| Zola |
| n/a |
| Creation in a scientific manner |
| truth is revealed in the experiment |
| instruction; shows what humanity is like |
| none |
| scientific prose is beautiful |
| particular prose examples eventually lead to universal |
| the experi-menting writer is moral |
|
| Wilde |
| creative act of lies |
| LIES ARE GREAT--shows us what to look for |
| liar should delight us |
| all humans lie, but the individual lies are particular |
| Ancients could lie; moderns have forgotten |
| beauty is in things we do not care about |
| n/a |
| not import-ant |
|
| Eliot |
| objective/ correlative, no over-reaction |
| revise (imitate) what has been written |
| in emotions |
| delight |
| n/a |
| can revise a work |
| universal first, particular second |
| ancients are most revised |
|
| Freud |
| Jung |
|
| in the work; art is beauty |
| Ancient/ /Modern |
| Universal/ Particular |
| Morality |
| Poetics |
| Beauty |
| Instruct/ Delight |
| Truth/ Lies |
| Imitation/ Creativity |
| moderns; they rediscover the poet |
| creative, but archetypes uncon-sciously pop up |
| poetics of the creative process |
| delight, but newer generations may delight in formerly scorned poet |
| if it's socially accept-ed, it's morally good |
| humanity universally reductive, but partic-ularly specific; don't go primitive to get universal |
| work is true if from collective uncon-scious, false if from neurosis |
| creativity fufills wish in writer |
| socially accepted is moral |
| n/a |
|
| Wimsatt/ Beardsley |
| sucessful work is beautiful |
| poetics for critic, not author |
| particular to author |
| delight |
| n/a |
| imitation--can revise |
| n/a |
| we can still take meaning from ancients |
|
| Richards |
| differ-ent beliefs come to same judge-ments |
| different moralities come to universal judgements |
| statement "Beauty is truth" is too simplistic |
| "truth is beauty" is too simple |
| delight--in the experience of the reader |
| n/a |
| n/a |
| creativity--creates an experience for the reader |
|
| Brooks |
| poem specific to itself |
| n/a |
| n/a |
| piece is beautiful in context |
| delight, in context |
| creative |
| n/a |
| n/a |
|
| Foucault |
| moral if the state says it's moral |
| platonic ideas, but ideal is decided by state |
| poetics are okay as long as it isn't dogma |
| ideal is irrelevant |
| particular; individual first, if state allows it |
| state-run art agrees with their instruction |
| whatever is beautiful to state |
| n/a |
| no real beauty, only wishes fufilled |
| n/a |
| universal-all mankind has wish-fufillment |
| delight--it fufills wishes of writer (and reader) |
| not either, it is just how it is |