Title: New Criticism

Subject:

Date: 15,03,24

<aside> 💡 Key Points:

• Main Ideas
• Key words
• Questions that connect points
• Important points

Write it after the class

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<aside> ✏️ Notes:

• Seeing thing as it is or seeing things as it should be?
• Bilim vs Sanat?
• Science can be criticised as being right or wrong.
• Art cannot be objectively criticised.
• Objective correlative:
• practical criticisim
• close reading
• Negative capability
• Intentional Fallacy:
• Affective fallacy
• Genetic Fallacy
• Ephistomological Skepticism
• Impressionatism
• Textual meaning
• Authorial Meaning
• Aesthetic Experience
• Catalyst
• The organic unity TS Elliot
• Paradox. irony and ambiguity
• Perspectivism
• Heresy of Paraphrase
• Denotations. connotations
• Good critic- Bad Critic
• Close reader
• Temple distance
• Ontological Critic -Ontological distance
• Some text formed without the agency of the author.? Homer
• There are textual meanings without authorial meanings so they are not identical
• The meaning of a text can change after writer died but Writer cannot change it after ?
• Text can have a meaning which the author does not know.
• A work of art both historical and?
• Absolute objectivism?
• Text itself
• Ambiguity makes the work aesthetic.? Is it good.

Evaluation of work of art should not be based on intentions.

A poem should not be read with aesthetic expectations.

90-60-90 Aristotle

Femme Fatale

How did Titans achieved victory in Greek?

Doğa şeytanın ? Nietche

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<aside> 📎 Summary:

A brief summary and conclusion about the notes/lecture

1. Seeing things as they are vs. as they should be: This is a philosophical question. Some people argue that we see things as we are, not as they are1. Others suggest that we should strive to see things as they are, without our personal biases2.
2. Science can be criticised as being right or wrong: Yes, science is a process of learning and discovery, and sometimes we learn that what we thought was right is wrong3.
3. Art cannot be objectively criticised: Art is subjective and its interpretation can vary greatly among individuals. It’s generally accepted that art cannot be objectively criticised4.
4. Objective correlative: This is a literary concept that refers to a group of things or events which systematically represent emotions5.
5. Practical criticism: This is a discipline that encourages students to concentrate on ‘the words on the page’, rather than relying on preconceived or received beliefs about a text6.
6. Close reading: This is a method of literary analysis that involves careful and detailed interpretation of a text7.
7. Negative capability: This is a concept introduced by John Keats, referring to the ability of an artist to pursue beauty and emotional truth in their work, even amidst uncertainty and doubt8.
8. Intentional Fallacy: This is a term used in literary criticism to describe the error of judging a work of art based on the author’s intended meaning rather than the actual response to the work9.
9. Affective fallacy: This is a concept in literary criticism that refers to the error of judging a work of art by the emotional effect it produces on the reader10.
10. Genetic Fallacy: This is a logical fallacy that occurs when a conclusion is suggested based solely on something or someone’s origin rather than its current meaning or context11.

Sure, here are brief explanations for each of the terms you’ve listed:

1. Epistemological Skepticism1: This is a philosophical view that questions our ability to claim any knowledge. It suggests that it’s difficult or impossible to be certain about anything1.
2. Impressionism2: This is a 19th-century art movement characterized by small, thin brush strokes, open composition, and an emphasis on the accurate depiction of light. It originated with a group of Paris-based artists2.
3. Textual Meaning3: This refers to the meaning that comes from the text itself. It’s the interpretation derived directly from the words and context in the written material3.
4. Authorial Meaning4: This refers to the meaning intended by the author of a text. It’s the interpretation that aligns with the author’s intent or purpose4.
5. Aesthetic Experience5: This is an experience that arises from the appreciation of beauty, especially in art. It involves a wide range of emotions such as fascination, awe, and admiration5.
6. Catalyst6: In chemistry, a catalyst is a substance that speeds up a chemical reaction without being consumed by the reaction itself6.
7. The Organic Unity (T.S. Eliot)7: This refers to the idea in T.S. Eliot’s work (like “The Waste Land”) that even though a poem might appear fragmented, it forms a unified whole. The form of the poem resonates with the fragmented modern existence7.
8. Paradox, Irony, and Ambiguity8: These are literary devices used to add complexity to a text. A paradox is a statement that contradicts itself but reveals a deeper truth. Irony involves a difference between expectations and reality. Ambiguity allows for multiple interpretations of a text or situation8.
9. Perspectivism9: This is a philosophical view that all perceptions and knowledge of something are bound to the perspectives of the observer. It suggests that no one has access to an absolute, perspective-free view of the world9.
10. Heresy of Paraphrase10: This is a concept from literary criticism (proposed by Cleanth Brooks) that argues the meaning of a poem cannot be adequately expressed through a paraphrase10.
11. Denotations and Connotations: Denotation refers to the literal or dictionary meaning of a word. Connotation refers to the emotional or cultural associations evoked by a word.
12. Good Critic - Bad Critic: This likely refers to the quality of literary criticism. A good critic provides insightful, balanced analysis while a bad critic may offer superficial or biased commentary.
13. Close Reader: This refers to a person who reads texts closely and analytically, paying attention to the details of language, structure, and symbolism to interpret the work.
14. Temple Distance: This term is unclear in this context. Could you provide more information?
15. Ontological Critic - Ontological Distance: An ontological critic would be someone who applies the study of being and existence (ontology) to their criticism. Ontological distance could refer to the gap or difference between what is real (ontology) and how it is represented in a text.
16. Some text formed without the agency of the author? Homer: This could refer to the idea that some texts, like the epic poems attributed to Homer, may have been shaped not by a single author but by a tradition of oral storytelling passed down and evolved over generations.

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Seeing things as they are involves recognizing the fundamental nature of our experiences, unearthing hidden assumptions, and shifting attention away from the content of our perceptions to their underlying structure. In the context of Buddhism, this concept is associated with the three marks of existence:

1. Impermanence (anitya): Everything in our samsaric experience is subject to change. Even seemingly stable objects undergo continuous flux over time. For instance, consider a shirt—its wear and tear accumulate gradually, often unnoticed. Similarly, relationships evolve, and people age, yet we often fail to perceive these changes until they surprise us.
2. No-self (anatman): This mark challenges the notion of a fixed, independent self. Instead, it invites us to recognize the fluidity of identity. Just as the shirt is not a static object but a flow of events, our sense of self is also impermanent. We cling to an illusory permanence, but in reality, we are interconnected and ever-changing.
3. Suffering (duhkha): Life inherently involves suffering, whether physical, emotional, or existential. By seeing things as they are, we acknowledge this truth. Denying suffering or seeking permanent happiness leads to further dissatisfaction. Accepting the imperfections of existence allows us to navigate life more skillfully.

In contrast, seeing things as they should be often arises from preconceived notions, mental images, or idealized expectations. It can hinder our ability to perceive reality objectively.