Advertisement
| principles of criticism: Principles of Literary Criticism Ivor Armstrong Richards, 1928 |
| principles of criticism: Principles of Literary Criticism Ivor Armstrong Richards, 2001 With an alertness to the psychological and emotional effects of language, this work aims to present an understanding both of literature and of the role of the reader. |
| principles of criticism: Principles of Literary Criticism V3 John Constable, I. A. Richards, 2013-12-16 First Published in 2001. This is Volume 3 of the Selected Works of I.A. Richards from 1919 to 1938 and concerns itself with the principles of literary criticism from 1924. |
| principles of criticism: Principles of Literary Criticism I. A. Richards, 1920 |
| principles of criticism: Principles of Akkadian Textual Criticism Martin Worthington, 2012-07-30 Errors of many kinds abound in Akkadian writings, but this fact’s far-reaching implications have never been unraveled and systematized. To attempt this is the aim of this book. Drawing on scholarship from other fields, it outlines a framework for the critical evaluation of extant text and the formulation of conjectural emendations. Along the way, it explores issues at the interface of orthography, textual transmission, scribal education, grammar, literacy, and literary interpretation. |
| principles of criticism: The Principles of Literary Criticism Ivor Armstrong Richards, 1976 |
| principles of criticism: Principles of Textual Criticism James Thorpe, 1990-01-01 This book is the first comprehensive study of the basic principles that govern the editing of literary texts. The focus is on English and American literature, and discussion is illuminated by a multitude of examples from the Renaissance to the present time. It deals with the topics that are essential to all editorial work and conveys attitudes and approaches that should animate all literary scholarship. |
| principles of criticism: Practical Criticism - A Study Of Literary Judgment I. A. Richards, 2013 I have set three aims before me in constructing this book. First, to introduce a new kind of documentation to those who are interested in the contemporary state of culture whether as critics, as philosophers, as teachers, as psychologists, or merely as curious persons. Secondly, to provide a new technique for those who wish to discover for themselves what they think and feel about poetry (and cognate matters) and why they should like or dislike it. Thirdly, to prepare the way for educational methods more efficient than those we use now in developing discrimination and the power to understand w. |
| principles of criticism: The Principles of Criticism William Basil Worsfold, 1916 |
| principles of criticism: Principles of Literary Criticism Ivor A. Richards, 1983 |
| principles of criticism: Principles of literary criticism I. A. Richards, 2025-05-09 Principles of Literary Criticism by I. A. Richards is a groundbreaking study that transformed twentieth‑century literary theory by linking the close reading of texts to psychology, semantics, and the reader’s emotional response. First published in 1924 and still a touchstone for students and scholars, this influential work explains how meaning is generated, how ambiguity enriches poetry, and why literature matters as a powerful instrument for ordering human experience. Richards introduces key concepts—such as “synesthetic rhythm,” “stock response,” and the “communication triangle”—that continue to shape modern criticism, making this volume essential for anyone who wants to understand how language, thought, and feeling interact on the page. Ivor Armstrong Richards (1893–1979), one of the most innovative critics of the modern era, taught at the University of Cambridge and later at Harvard, where he helped establish the discipline of English as a rigorous analytic science. A pioneer of New Criticism and practical criticism, Richards authored classic texts including The Meaning of Meaning (with C. K. Ogden) and Practical Criticism, and his theories influenced everything from literary pedagogy to the design of Basic English and early multimedia language labs. His interdisciplinary vision—combining linguistics, psychology, and education—continues to reverberate across literary studies, rhetoric, and communication theory. Blending lucid prose with trailblazing insight, Principles of Literary Criticism remains a vital resource for writers, teachers, and curious readers seeking to deepen their appreciation of poetry, fiction, and the interpretive act itself. Download this definitive edition on Google Play Books to explore Richards’s timeless guidance on how to read, analyze, and truly feel literature. |
| principles of criticism: Some Principles of Literary Criticism Caleb Thomas Winchester, 2013-09 This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 edition. Excerpt: ... chapter second What Is Litebattjre? It was stated at the close of the previous chapter that the principles of criticism must be derived from a study of the literature itself; that a book is not literature because it conforms to certain rules, but rather that these rules are valid because they are drawn from admitted works of literature. Obviously, then, at the outset of our discussion, this question presents itself: What is the body of writings from which these rules and principles are drawn? What is literature? Moreover, if we can answer this question satisfactorily, we may find ourselves advanced some way in our discussion of these principles themselves. Since, if there be any discoverable essentials of literature as such, we shall be most likely to find all valuable critical principles, or laws, by considering carefully these essentials, their relative value, the conditions on which they depend, and the ways in which they are combined. But here we meet a difficulty which constantly recurs in critical discussion, --the difficulty of giving accurate definition to words in common use with a wide and vague significance. Such words as literature, as also, for other examples, beauty, poetry, imagination, idealism, are used by us all without any attempt to define for ourselves precisely what we mean by them. We find they designate accurately enough the most of the things associated with them in our thought, and we do not trouble ourselves if there be, so to speak, a ragged fringe on either side of the line of their meaning. It is only when we try to define such terms that we realize how vague and careless is our use of them. We find it difficult to make out with precision the limits of meaning we ourselves would assign to them; and when we.. |
| principles of criticism: Anatomy of Criticism Northrop Frye, 1957 |
| principles of criticism: PRINCIPLES OF CRITICISM W. Basil (William Basil) 1858 Worsfold, 2016-08-26 |
| principles of criticism: Principles of Literary Criticism; 1928 I a (Ivor Armstrong) 1893- Richards, 2021-09-09 This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| principles of criticism: Principles of Literary Criticism Lascelles Abercrombie, 1932 |
| principles of criticism: Elements of Criticism, Vol. 1 (Classic Reprint) Henry Home Kames, 2016-12-04 Excerpt from Elements of Criticism, Vol. 1 After the utmolt efforts, we find it beyond Our power to conceive the avour ofa rofc to erdi in the mind: we are neceffarily led to conceive that pleafure as exilling in the nol'crils along With the imprefiion made by the rofo Upon that organ. And the fame will be the refult of ex periments with refpec't to every feeling of talie, touch, anddfmell. Touch affords the moft fatisfaetory Ccri ments. Were it not that the delufion is deteeted by phi lofophy, no perfon would hefitate to pronounce, that the pleafure arifing from touching a fmooth, foft, and velvet furface, has its exifience at the ends of the fingers, with. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. |
| principles of criticism: On Criticism Noel Carroll, 2009-06-02 In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life. |
| principles of criticism: The Principles of Criticism W Basil Worsfold, 2023-07-18 In this classic work, W. Basil Worsfold offers a comprehensive guide to the principles of literary criticism. Drawing on the works of Aristotle, Horace, and other classical writers, he provides a detailed analysis of the various forms of criticism, from narrative and dramatic to philosophical and historical. He also offers practical advice to aspiring critics, including tips on how to write effective reviews and how to evaluate works of literature in a fair and objective manner. This book is an essential resource for anyone interested in the theory and practice of literary criticism. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| principles of criticism: The New Criticism John Crowe Ransom, 1979 |
| principles of criticism: The Principles of Criticism William Basil Worsfold, 1923 |
| principles of criticism: The World, the Text, and the Critic Edward W. Said, 1983 Said demonstrates that critical discourse has been strengthened by the writings of Derrida and Foucault and by influences like Marxism, structuralism, linguistics, and psychoanalysis. But, he argues, these forces have compelled literature to meet the requirements of a theory or system, ignoring complex affiliations binding the texts to the world. |
| principles of criticism: Hateful Contraries W.K. Wimsatt, 2014-07-15 These ten essays, written over a period from 1950 to 1962, are bound together by their common concern with questions of the meaning of criticism and the larger meaning of literature itself. These difficult questions W.K. Wimsatt treats with characteristic wit and penetration, ranging easily from a broad consideration of principles to incisive comment on individual writers and works. The first part of the book is devoted to a discussion of literary theory. Wimsatt reviews the development of critical dialectic from the German romanticism of Schelling and the Schlegels to the mythopeic bravura of Northrop Frye. Himself a classical ironist, he nevertheless exposes here some of the extravagances of the ironic principle as flourished by the systematic Prometheans. The second and third parts contain essays on more particular topics: the meaning of symbolism, Aristotle's doctrines of the tragic plot and catharsis, the theory of comic laughter, and the objective reading of English meters. Here too are extended comment on particular writers—a study of the imagination of James Boswell, an analysis of the comedy of T. S. Eliot in The Cocktail Party, and a contrast in the handling of similar themes by Tennyson and Eliot. The fourth part is a comprehensive statement of the demands and opportunities confronting the critic in his or her role as teacher. |
| principles of criticism: A HANDBOOK ON PRINCIPLES OF LITERARY CRITICISM (From Plato to Post-modernism) S. Ravindranathan, |
| principles of criticism: Some Principles of Literary Criticism Caleb Thomas Winchester, 1924 |
| principles of criticism: Art Criticism and Education Theodore F. Wolff, George Geahigan, 1997 In this concluding volume of the series Disciplines in Art Education, an author-art critic and an art educator discuss the place of the art criticism in the classroom. |
| principles of criticism: An Essay on Criticism ... Alexander Pope, 1711 |
| principles of criticism: Understanding I.A. Richards' Principles of Literary Criticism Kalika Ranjan Chatterjee, 2002 No Treatment Of Modern Criticism Is Possible Without Discussing I.A. Richards, Since In The Most Literal Sense His Influence Combined With That Of T.S. Eliot And F.R. Leavis Served To Create It. As One Of Seminal Thinkers Paving The Way For The Development Of New Criticism, Richards Made A Systematic Attempt To Formulate A Theory Of Poetry In Consonance With The Demands Of Modern Scientific Thought.The Present Book Stems From The Need To Offer An Objective Appraisal Of Richards Thought System In The Context Of The Evolution Of His Ideas In Foundations Of Aesthetics, The Meaning Of Meaning, Principles Of Literary Criticism, Science And Poetry (Later Reissued As Poetries And Sciences) And Practical Criticism. In The Context Of Wide-Spread Misinterpretations And Distortions Of Richards Point Of View, The Author Has Tried Throughout This Inter-Disciplinary Work To Allow Richards To Speak For Himself. While Unfolding The Subtle, Suggestive And Consistent Nature Of Richards Early Writings, The Book Studies His Criticism Of Modern Poets Like T.S. Eliot, W.B. Yeats, G.M. Hopkins, Thomas Hardy And D.H. Lawrence. The Chapter On Practical Criticism Throws Light On Richards Technique Of Evaluating Poems And Teaches The Art Of Appreciating Poetry. |
| principles of criticism: The Principles of Criticism Basil Worsfold, 2007-03 PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... |
| principles of criticism: The Principles of Criticism W. Basil Worsfold, 2015-06-30 Excerpt from The Principles of Criticism: An Introduction to the Study of Literature The purpose of this book is to present an account of the main principles of literary criticism, and to illustrate these principles by passages from great writers. The book will, therefore, be found to contain (in addition to the text) a collection of noteworthy critical utterances. The translations from the Greek, Germany and French have been done by the Author. References are made (with two exceptions) to the text of Aristotle by the pages of Immanuel Bekker's large (Berlin) edition; and to that of Plato, by the pages of the edition of Henry Stephens. Addison is cited by numbers of the Spectator, and Lessing by chapters of the Laocoon. In the case of other authors, the footnotes will sufficiently indicate the sources of reference. Both an index of authors and an index of subjects have been provided. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. |
| principles of criticism: The Principles of Criticism. An Introduction to the Study of Literature. (Reissued.). William Basil WORSFOLD, 1970 |
| principles of criticism: The Literary Critics George Watson, 1964 |
| principles of criticism: Literary Criticism Joseph North, 2017-05-08 Cover -- Title Page -- Copyright -- Contents -- Preface -- Introduction -- 1. The Critical Revolution Turns Right -- 2. The Scholarly Turn -- 3. The Historicist/Contextualist Paradigm -- 4. The Critical Unconscious -- Conclusion: The Future of Criticism -- Appendix: The Critical Paradigm and T.S. Eliot -- Notes -- Acknowledgments -- Index |
| principles of criticism: Historical Criticism and the Challenge of Theory Janet Levarie Smarr, 1993 |
| principles of criticism: Remapping Gender, Place and Mobility Stine Thidemann Faber, Helene Pristed Nielsen, 2016-03-03 Enhancing our understanding of how people and places are affected by globalization at the level of everyday interactions within ’Nordic Peripheries’, this book sheds light on local particularities as well as global confluences, by illuminating how gender, mobility and belonging contribute to ruptures and/or stability in the lives of men and women living in and/or moving within these northern localities. Crossing disciplinary and geographical boundaries the focus of the book is specifically on how global processes shape and influence the Nordic countries at the social level: Denmark, Norway, Sweden, Iceland, Finland, as well as the Faroe Islands. The book starts from the premise that the Nordic peripheries offer an especially powerful lens on ’peripherality’ in a globalized and globalizing world, because the region as a whole is traditionally perceived as relatively affluent, stable and with high levels of social equality. Yet, as the different chapters in the book demonstrate - with case studies that illuminate diverse gendered processes - globalization produces ruptures and new social constellations also at the rims of Nordic societies, well beyond the cushioning of comprehensive social welfare regimes. By elevating the empirical findings to more general debates about the gendered effects of globalization the book invites the reader to reflect upon not only Nordic particularities but also how insights from this part of the world can be instructive for understanding the nuances and complexities of global confluences at large. |
| principles of criticism: Interpretation and Social Criticism Michael Walzer, 1993 seriously interested in the possibility of a moral life will find sustenance and inspiration in this book. |
| principles of criticism: Coleridge's Principle's of Criticism, Chapters I., III., IV., XIV-XXII of "Biographia Literaria," with Introduction and Notes Samuel Taylor Coleridge, Andrew Jackson George, 1904 |
| principles of criticism: What is Narrative Criticism? Mark Allan Powell, The first nontechnical description of the principles and procedures of narrative criticism. Written for students' and pastors' use in their own exegesis.With great clarity Powell outlines the principles and procedures that narrative critics follow in exegesis of gospel texts and explains concepts such as point of view, narration, irony, and symbolism. Chapters are devoted to each of the three principal elements of narrative: events, characters, and settings; and case studies are provided to illustrate how the method is applied in each instance. The book concludes with an honest appraisal of the contribution that narrative criticism makes, a consideration of objections that have been raised against the use of this method, and a discussion of the hermeneutical implications this method raises for the church. |
| principles of criticism: The Theory of Literary Criticism John M. Ellis, 2023-11-15 This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974. |
PRINCIPLE Definition & Meaning - Merriam-Webster
a comprehensive and fundamental law, doctrine, or assumption; a rule or code of conduct; habitual devotion to right principles… See the full definition
Principles by Ray Dalio
Ray Dalio, one of the world’s most successful investors and entrepreneurs, shares the unconventional principles that helped him create unique results in life and business.
Principle - Definition, Meaning & Synonyms | Vocabulary.com
A principle is a kind of rule, belief, or idea that guides you. You can also say a good, ethical person has a lot of principles.
PRINCIPLE | English meaning - Cambridge Dictionary
Principal as an adjective means ‘most important’: … [ C ] His guiding principle is that everyone should have equal access to high-quality health care. [ C ] He refused to compromise his …
Principle - Wikipedia
There are many principles observed in physics, notably in cosmology which observes the mediocrity principle, the anthropic principle, the principle of relativity and the cosmological …
PRINCIPLE Definition & Meaning | Dictionary.com
Principle, canon, rule imply something established as a standard or test, for measuring, regulating, or guiding conduct or practice. A principle is a general and fundamental truth that …
PRINCIPLE definition and meaning | Collins English Dictionary
A principle is a general belief that you have about the way you should behave, which influences your behaviour. Buck never allowed himself to be bullied into doing anything that went against …
principle noun - Definition, pictures, pronunciation and usage …
Definition of principle noun from the Oxford Advanced Learner's Dictionary. [countable, usually plural, uncountable] a moral rule or a strong belief that influences your actions. He has high …
Principle Definition & Meaning | Britannica Dictionary
In principle, making the changes should be a simple matter, but there may be problems we haven't thought of. They accepted the offer in principle. Do not confuse principle with principal.
Principle Definition & Meaning - YourDictionary
Principle definition: A basic truth, law, or assumption.
PRINCIPLE Definition & Meaning - Merriam-Webster
a comprehensive and fundamental law, doctrine, or assumption; a rule or code of conduct; habitual devotion to right principles… See the full definition
Principles by Ray Dalio
Ray Dalio, one of the world’s most successful investors and entrepreneurs, shares the unconventional principles that helped him create unique …
Principle - Definition, Meaning & Synonyms | Vocabulary.com
A principle is a kind of rule, belief, or idea that guides you. You can also say a good, ethical person has a lot of …
PRINCIPLE | English meaning - Cambridge Dictionary
Principal as an adjective means ‘most important’: … [ C ] His guiding principle is that everyone should have equal …
Principle - Wikipedia
There are many principles observed in physics, notably in cosmology which observes the mediocrity principle, the anthropic principle, the principle of …
