Outline and Analysis the Romantic idea of authorship through Wimsatt and Beardsley’s critique of the “intentional fallacy”?
Length : 2500 words
a. your answer must include:
I. an analysis of the claims make by the Romantic poets as to the nature of artistic production.
II. An acknowledgement of the different between the reception and production of texts.
Unit Objective:
Understand the changing role of authorship in literary and film history
Had the capacity to distinguish between the implied author of a fictional work and the actual producer of the text and use this distinction in the analysis of media text.
Comprehend the importance of discursive structures (the author function), in act of creating and interpreting texts
Assignment Requirements :
Assessment Criteria
Be informed by the relevant theoretical readings provided
Show evidence of additional LIBRARY research, including reference to further PRINT materials. Note: you may refer to materials available on the web.
Be typed or word-processed and appropriately presented. In Particular, print your assignments in 12-point and with double-spacing.
Relevance to the set topic and unit objectives
Evidence of familiarity with relevant reading material.
Logical planning and sequence of argument.
Clarity of expression.
Appropriate use of quotations.
[We must be able to clearly differentiate btw the implied author and intentional fallacy whereby the intentional fallacy specifically refers to reader's role in interpreting text.] It is worthwhile looking at the notion of the implied author but it is also a function of reading the text. As was argued by Chatman in this week’s lecture, the real author has “retired” after writing and it is the implied author that takes their place in the act of reading. [With reference to the first topic, we are asked to outline and analyse the Romantic idea of authorship through W&B's intentional fallacy. However, it seems that W&B's theory if applied to Romantic writing would only strip the very essence upon which Romantic writing is based upon - emotion, nature, cultural context, etc...Therefore, would not our analysis of the Romantic idea be one of negative critique? For example, if Wordsworth belief is that good poetry stems from personal emotions and experiences, then surely if according to W&B we are asked to ignore Wordsworth creative input and judge the text at face value.] You are asked to analyse and describe the link between the intentional fallacy and the Romantic tradition. You do not have to analyse Wordsworth’s poems but the theories of authorship common to Romanticism. You can use the poems as evidence of Romantic views but you should not offer a singular interpretation of any of them. The article by Shelley or the non-fictional writings of the other Romantic poets, including Wordsworth and Coleridge, would certainly be of use. W & B do not simply ask you to “ignore Wordsworth’s creative input” but state that it is “inaccessible”. [1) We are asked to critic the claims made by Romantic authors as to the nature of artistic production. I've yet to come across in explicit writing specific claims made by Romantic authors. However, I have touched on the works of the Big 4 (or 6?) and have found each individual's work stems from different input. For example, Poet A's work stems from astrology and myths. Poet B's work originates from his love for nature and goodness of man.] In relation to my earlier point, you are not interpreting the poems and you do not need to find out biographical details of the poets. This is why it is more useful to analyse their non-fictional writings. The issue of production is raise because you must separate the act of writing a text (a key issue of the Romantics) and the act of reading it. The Romantics said many things about artistic production but in relation to the intentional fallacy, you must ask if these elements are available to the reader through the text.
Reading:
Bennett, A (2005)”authorship, Ownership, Originality”in The Author, Routledge, Oxon, pp29-54
Harding, D.W. (1982) “The Character of Literature From Blake to Byron” in B. Ford(ed) From Blake to Byron, Penguin Books UK pp35-66
Skelley, P.B. (1977)”A Defence of Poetry” in D.H Reimen & S.B. Powers (eds), Skelley’s Poetry and Prose: Authoritative Texts and Criticism, Norton, New York, pp480-508
Coleridge, S. T “Kubla Khan” in J. Leonard (ed.) Seven Centuries of Poetry in English, Hodder and Stoughton, London, 1994, pp286-287
Keats, J. (1994) “Ode to a Nightingale”in J. Leonard (ed.) Seven Centuries of Poetry in English, Oxford UP, Melbourne, pp248-249
Wordsworth, W (1997)”Lines” in T. Crehan (ed.) The Poetry of Wordsworth, Hodder and Stoughton, London, pp104-109
Beardsley, M.C. & Wimsatt, W. K (1972) “The Intentional Fallacy” in D. Lodge (ed.), 20th Century literary Criticism: A Reader, Longman, London, pp334-344
Booth, W.C. (1996)”General Rules, II: “All Authors should be Objective”” in The Rhetoric of Fiction, University of Chicago Press, Chicago, pp67-77
Wellek, R. & Warren, A. (1975) “Literature and Biography” in Theory of Literature, Harcourt Brace Jovanovich, New York, pp75-80
Credit:ivythesis.typepad.com
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