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Critical Theory Since Plato
Critical Theory Since PlatoCritical Theory Since Plato

Critical Theory Since Plato

Edit Edition
EditorHazard Adams
FormatHardback
LanguageEnglish
LocationUSA
Copyright1971
Copyright Renewed1992
Pages / Font1271 pages
ISBN 100155161431
Library of Congress Catalog Card Number91-72553
Chapters๐๐ฅ๐š๐ญ๐จ Ion Republic _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book II _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book III _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book X ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Cratylus ๐€๐ซ๐ข๐ฌ๐ญ๐จ๐ญ๐ฅ๐ž Poetics ๐‡๐จ๐ซ๐š๐œ๐ž: Art of Poetry ๐‹๐จ๐ง๐ ๐ข๐ง๐ฎ๐ฌ: On the Sublime ๐๐ฅ๐จ๐ญ๐ข๐ง๐ฎ๐ฌ: On the Intellectual Beauty ๐’๐ญ. ๐€๐ฎ๐ ๐ฎ๐ฌ๐ญ๐ข๐ง๐ž: On Christian Doctrine _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book One _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book Two ๐Œ๐š๐ง๐ฅ๐ข๐ฎ๐ฌ ๐’๐ž๐ฏ๐ž๐ซ๐ข๐ง๐ฎ๐ฌ ๐๐จ๐ž๐ญ๐ก๐ข๐ฎs The Consolation of Philosophy _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book I ๐’๐š๐ข๐ง๐ญ ๐“๐ก๐จ๐ฆ๐š๐ฌ ๐€๐ช๐ฎ๐ข๐ง๐š๐ฌ: The Nature and Domain of Sacred Doctrine _Ninth Article _Tenth Article ๐ƒ๐š๐ง๐ญ๐ž ๐€๐ฅ๐ข๐ ๐ก๐ข๐ž๐ซ๐ข: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Banquet ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Letter to Can Grande Della Scala ๐†๐ข๐จ๐ฏ๐š๐ง๐ง๐ข ๐๐จ๐œ๐œ๐š๐œ๐œ๐ข๐จ: Life of Dante _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter IX _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter X Genealogy of the Gentle Gods _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book XIV _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book XV ๐‹๐จ๐๐จ๐ฏ๐ข๐œ๐จ ๐‚๐š๐ฌ๐ญ๐ž๐ฅ๐ฏ๐ž๐ญ๐ซ๐จ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The ๐˜—๐˜ฐ๐˜ฆ๐˜ต๐˜ช๐˜ค๐˜ด of Aristotle Translated and Explained ๐’๐ข๐ซ ๐๐ก๐ข๐ฅ๐ข๐ฉ ๐’๐ข๐๐ง๐ž๐ฒ: An Apology for Poetry ๐‰๐š๐œ๐จ๐ฉ๐จ ๐Œ๐š๐ณ๐ณ๐จ๐ง๐ข: On the Defense of the Comedy of Dante _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Introduction and Summary _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book I ๐“๐จ๐ซ๐ช๐ฎ๐š๐ญ๐จ ๐“๐š๐ฌ๐ฌ๐จ: Discourses on the Heroic Poem _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book One ๐’๐ข๐ซ ๐…๐ซ๐š๐ง๐œ๐ข๐ฌ ๐๐š๐œ๐จ๐ง: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Advancement of Learning ๐‡๐ž๐ง๐ซ๐ฒ ๐‘๐ž๐ฒ๐ง๐จ๐ฅ๐๐ฌ: Mythomystes ๐“๐ก๐จ๐ฆ๐š๐ฌ ๐‡๐จ๐›๐›๐ž๐ฌ: Answer to Davenant's Preface to ๐˜Ž๐˜ฐ๐˜ฏ๐˜ฅ๐˜ช๐˜ฃ๐˜ฆ๐˜ณ๐˜ต ๐๐ข๐ž๐ซ๐ซ๐ž ๐‚๐จ๐ซ๐ง๐ž๐ข๐ฅ๐ฅ๐ž: Of the Three Unities of Action, Time, and Place ๐‰๐จ๐ก๐ง ๐ƒ๐ซ๐ฒ๐๐ž๐ง: An Essay of Dramatic Poesy ๐๐ข๐œ๐จ๐ฅ๐š๐ฌ ๐๐จ๐ข๐ฅ๐ž๐š๐ฎ-๐ƒ๐ž๐ฌ๐ฉ๐ซรฉ๐š๐ฎ๐ฑ: The Art of Poetry ๐‰๐จ๐ก๐ง ๐‹๐จ๐œ๐ค๐ž: An Essay Concerning Human Understanding _Book III: Chapter II _Chapter III _Chapter IX _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter X ๐‰๐จ๐ก๐ง ๐ƒ๐ž๐ง๐ง๐ข๐ฌ: The Advancement and Reformation of Modern Poetry _Chapter IV _Chapter V _Chapter VI ๐€๐ฅ๐ž๐ฑ๐š๐ง๐๐ž๐ซ ๐๐จ๐ฉ๐ž: An Essay on Criticism ๐‰๐จ๐ฌ๐ž๐ฉ๐ก ๐€๐๐๐ข๐ฌ๐จ๐ง: On the Pleasures of the Imagination Spectator, No. 411 Spectator, No. 416 Spectator, No. 418 ๐†๐ข๐š๐ฆ๐›๐š๐ญ๐ญ๐ข๐ฌ๐ญ๐š ๐•๐ข๐œ๐จ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The New Science ๐„๐๐ฆ๐ฎ๐ง๐ ๐๐ฎ๐ซ๐ค๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the Beatiful _Introduction "Of Taste" _Section VII "Of the Sublime" _Section X "Of Beauty" _Section XXVII " The Sublime and Beautiful Compared" ๐ƒ๐š๐ฏ๐ข๐ ๐‡๐ฎ๐ฆ๐ž: Of the Standard of Taste ๐’๐š๐ฆ๐ฎ๐ž๐ฅ ๐‰๐จ๐ก๐ง๐ฌ๐จ๐ง: On Fiction Rasselas _Chapter X ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Preface to Shakespeare ๐„๐๐ฐ๐š๐ซ๐ ๐˜๐จ๐ฎ๐ง๐ : ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Conjectures on Original Composition ๐†๐จ๐ญ๐ญ๐ก๐จ๐ฅ๐ ๐„๐ฉ๐ก๐ซ๐š๐ข๐ฆ ๐‹๐ž๐ฌ๐ฌ๐ข๐ง๐ : ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Laocoรถn _Chapter XVI ๐’๐ข๐ซ ๐‰๐จ๐ฌ๐ก๐ฎ๐š ๐‘๐ž๐ฒ๐ง๐จ๐ฅ๐๐ฌ: Discourses on Art _Discourse III _Discourse VII _Discourse XIII ๐ƒ๐ž๐ง๐ข๐ฌ ๐ƒ๐ข๐๐ž๐ซ๐จ๐ญ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ the Paradox of Acting ๐ˆ๐ฆ๐ฆ๐š๐ง๐ฎ๐ž๐ฅ ๐Š๐š๐ง๐ญ: Critique of Judgement _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ First Book "Analytic of the Beautiful" _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Second Book "Analytic of the Sublime" ๐Œ๐š๐ซ๐ฒ ๐–๐จ๐ฅ๐ฅ๐ฌ๐ญ๐จ๐ง๐ž๐œ๐ซ๐š๐Ÿ๐ญ: A Vindication of the Rights of Woman _Chapter VI _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter XIII ๐–๐ข๐ฅ๐ฅ๐ข๐š๐ฆ ๐๐ฅ๐š๐ค๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Marriage of Heaven or Hell ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Letter to Thomas Butts Annotations to Reynolds' Discourses _Malone's Account of Reynolds' Life and Writings _Discourse I _Discourse II _Discourse III _Discourse IV _Discourse VI _Discourse VII _Discourse VIII A Descriptive Catalogue _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Canterbury Pilgrims _The Ancient Britons _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ A Vision of the Last Judgement _On Homer's Poetry ๐…๐ซ๐ข๐ž๐๐ซ๐ข๐œ๐ก ๐•๐จ๐ง ๐’๐œ๐ก๐ข๐ฅ๐ฅ๐ž๐ซ: Letters on the Aesthetic Education of Man _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Sixth Letter _Twelth Letter _Thirteenth Letter _Fourteenth Letter _Fifteenth Letter _Twenty-First Letter _Twenty-Second Letter _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Twenty-Fifth Letter ๐…๐ซ๐ข๐ž๐๐ซ๐ข๐œ๐ก ๐’๐œ๐ก๐ฅ๐ž๐ ๐ž๐ฅ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Critical Fragments ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Athenaeum Fragments ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ On Incomprehensibility ๐–๐ข๐ฅ๐ฅ๐ข๐š๐ฆ ๐–๐จ๐ซ๐๐ฌ๐ฐ๐จ๐ซ๐ญ๐ก: Preface to the Second Edition of ๐˜“๐˜บ๐˜ณ๐˜ช๐˜ค๐˜ข๐˜ญ ๐˜‰๐˜ข๐˜ญ๐˜ญ๐˜ข๐˜ฅ๐˜ด ๐†๐ž๐ซ๐ฆ๐š๐ข๐ง๐ž ๐๐ž๐œ๐ค๐ž๐ซ ๐ƒ๐ž ๐’๐ญ๐šรซ๐ฅ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Literature in its Relation to Social Institutions _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Part II: Chapter I _Chapter II _Chapter III _Chapter IV _Chapter V ๐…๐ซ๐ข๐ž๐๐ซ๐ข๐œ๐ก ๐–๐ข๐ฅ๐ก๐ž๐ฅ๐ฆ ๐•๐จ๐ง ๐’๐œ๐ก๐ž๐ฅ๐ฅ๐ข๐ง๐ : ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ On the Relation of the Plastic Arts to Nature ๐’๐š๐ฆ๐ฎ๐ž๐ฅ ๐“๐š๐ฒ๐ฅ๐จ๐ซ ๐‚๐จ๐ฅ๐ž๐ซ๐ข๐๐ ๐ž: Shakespeare's Judgement Equal to His Genius On The Principles of Genial Criticism _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Essay Third ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Stateman's Manual Biographia Literaria _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter XII _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter XIII _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter XIV ๐–๐ข๐ฅ๐ก๐ž๐ฅ๐ฆ ๐•๐จ๐ง ๐‡๐ฎ๐ฆ๐›๐จ๐ฅ๐๐ญ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Collected Works _ ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Eighteenth Century _ ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Essay on Aesthetics _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Latium and Hellas _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Introduction to General Linguistics _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ An Announcement of an Essay on the Language and Nation of the Basques _ ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ On Comparitive Linguistics _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ On the National Characteristics of Linguistic Types _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Basic Characteristics of Linguistic Types _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ On the Episode from the ๐˜”๐˜ข๐˜ฉ๐˜ข๐˜ฃ๐˜ฉ๐˜ข๐˜ณ๐˜ข๐˜ต๐˜ข, known as the ๐˜‰๐˜ฉ๐˜ข๐˜จ๐˜ข๐˜ท๐˜ข๐˜ฅ-๐˜Ž๐˜ช๐˜ต๐˜ข ๐˜๐˜ _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ On the differences in Human Linguistic Structure ๐‰๐จ๐ก๐ง ๐Š๐ž๐š๐ญ๐ฌ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Letter to Benjamin Bailey ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Letter to George and Thomas Keats ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Letter to John Taylor Letter to Richard Woodhouse ๐€๐ซ๐ญ๐ก๐ฎ๐ซ ๐’๐œ๐ก๐จ๐ฉ๐ž๐ง๐ก๐š๐ฎ๐ž๐ซ: The World as Will and Idea _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Book III ๐“๐ก๐จ๐ฆ๐š๐ฌ ๐‹๐จ๐ฏ๐ž ๐๐ž๐š๐œ๐จ๐œ๐ค: The Four Ages of Poetry ๐๐ž๐ซ๐œ๐ฒ ๐๐ฒ๐ฌ๐ฌ๐ก๐ž ๐’๐ก๐ž๐ฅ๐ฅ๐ž๐ฒ: A Defense of Poetry ๐‰๐จ๐ก๐š๐ง๐ง ๐–๐จ๐ฅ๐Ÿ๐ ๐š๐ง๐  ๐•๐จ๐ง ๐†๐จ๐ž๐ญ๐ก๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Conversations with Eckermann Maxim No. 279 ๐†๐ž๐จ๐ซ๐  ๐–๐ข๐ฅ๐ก๐ž๐ฅ๐ฆ ๐…๐ซ๐ข๐ž๐๐ซ๐ข๐œ๐ก ๐‡๐ž๐ ๐ž๐ฅ: The Philosophy of Fine Art _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Introduction ๐“๐ก๐จ๐ฆ๐š๐ฌ ๐‚๐š๐ซ๐ฅ๐ฒ๐ฅ๐ž: Symbols ๐‰๐จ๐ก๐ง ๐’๐ญ๐ฎ๐š๐ซ๐ญ ๐Œ๐ข๐ฅ๐ฅ: What is Poetry? ๐‘๐š๐ฅ๐ฉ๐ก ๐–๐š๐ฅ๐๐จ ๐„๐ฆ๐ž๐ซ๐ฌ๐จ๐ง: The Poet ๐‚๐ก๐š๐ซ๐ฅ๐ž๐ฌ-๐€๐ฎ๐ ๐ฎ๐ฌ๐ญ๐ข๐ง ๐’๐š๐ข๐ง๐ญ๐ž-๐๐ž๐ฎ๐ฏ๐ž: What is a Classic? ๐„๐๐ ๐š๐ซ ๐€๐ฅ๐ฅ๐š๐ง ๐๐จ๐ž: The Poetic Principle ๐Œ๐š๐ญ๐ญ๐ก๐ž๐ฐ ๐€๐ซ๐ง๐จ๐ฅ๐: Preface to the 1853 Edition of ๐˜—๐˜ฐ๐˜ฆ๐˜ฎ๐˜ด The Function of Criticism at the Present Time ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Study of Poetry ๐‡๐ข๐ฉ๐ฉ๐จ๐ฅ๐ฒ๐ญ๐ž ๐“๐š๐ข๐ง๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ History of English Literature _Introduction ๐‚๐ก๐š๐ซ๐ฅ๐ž๐ฌ ๐๐š๐ฎ๐๐ž๐ฅ๐š๐ข๐ซ๐ž: The Salon of 1859 _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Part III "Queen of the Faculties" _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Part IV "The Rule of the Imagination" ๐Š๐š๐ซ๐ฅ ๐Œ๐š๐ซ๐ฑ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The German Ideology ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ a Contribution to the Critique of Political Economy ๐…๐ซ๐ข๐ž๐๐ซ๐ข๐œ๐ก ๐๐ข๐ž๐ญ๐ณ๐ฌ๐œ๐ก๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Birth of Tragedy from the Spirit of Music Truth and Falsity in an Ultramoral Sense ๐–๐š๐ฅ๐ญ๐ž๐ซ ๐๐š๐ญ๐ž๐ซ: Studies in the History of the Renaissance _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Preface _Conclusion ร‰๐ฆ๐ข๐ฅ๐ž ๐™๐จ๐ฅ๐š: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Experimental Novel ๐€๐ง๐š๐ญ๐จ๐ฅ๐ž ๐…๐ซ๐š๐ง๐œ๐ž: The Adventures of the Soul ๐Ž๐ฌ๐œ๐š๐ซ ๐–๐ข๐ฅ๐๐ž: The Decay of Lying ๐’๐ญรฉ๐ฉ๐ก๐š๐ง๐ž ๐Œ๐š๐ฅ๐ฅ๐š๐ซ๐ฆรฉ: The Evolution of Literature The Book: A Spiritual Mystery Mystery in Literature ๐‹๐ž๐จ ๐“๐จ๐ฅ๐ฌ๐ญ๐จ๐ฒ: What is Art? _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter IV _Chapter V _Chapter VI _Chapter XV _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter XVI ๐๐ž๐ง๐ž๐๐ž๐ญ๐ญ๐จ ๐‚๐ซ๐จ๐œ๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Aesthetic _Chapter I "Intuition and Expression" _Chapter II "Intuition and Art" ๐€. ๐‚. ๐๐ซ๐š๐๐ฅ๐ž๐ฒ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Poetry for Poetry's Sake ๐’๐ข๐ ๐ฆ๐ฎ๐ง๐ ๐…๐ซ๐ž๐ฎ๐: Creative Writers and Daydreaming ๐…๐ž๐ซ๐๐ข๐ง๐š๐ง๐ ๐ƒ๐ž ๐’๐š๐ฎ๐ฌ๐ฌ๐ฎ๐ซ๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Course in General Linguistics _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Part One: Chapter I _Chapter IV _Chapter V ๐“. ๐„. ๐‡๐ฎ๐ฅ๐ฆ๐ž: Romanticism and Classicism Bergon's Theory of Art ๐–๐š๐ฅ๐ญ๐ž๐ซ ๐๐ž๐ง๐ฃ๐š๐ฆ๐ข๐ง: On Language as Such and On the Language of Man ๐•๐ข๐œ๐ญ๐จ๐ซ ๐’๐ก๐ค๐ฅ๐จ๐ฏ๐ฌ๐ค๐ฒ: Art as Technique ๐“. ๐’. ๐„๐ฅ๐ข๐จ๐ญ: Tradition and the Individual Talent Hamlet and His Problems ๐ˆ๐ซ๐ฏ๐ข๐ง๐  ๐๐š๐›๐›๐ข๐ญ๐ญ: Romantic Melancholy ๐‚๐š๐ซ๐ฅ ๐†๐ฎ๐ฌ๐ญ๐š๐ฏ ๐‰๐ฎ๐ง๐ : On the Relation of Analytical Psychology to Poetry ๐‹๐ž๐จ๐ง ๐“๐ซ๐จ๐ญ๐ฌ๐ค๐ฒ: The Formalist School of Poetry to Marxism ๐๐จ๐ซ๐ข๐ฌ ๐„๐ข๐œ๐ก๐ž๐ง๐›๐š๐ฎ๐ฆ: The Theory of the "Formal Method" ๐•๐ข๐ซ๐ ๐ข๐ง๐ข๐š ๐–๐จ๐จ๐ฅ๐Ÿ: A Room of One's Own _Chapter IV ๐ˆ. ๐€. ๐‘๐ข๐œ๐ก๐š๐ซ๐๐ฌ: Practical Criticism _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter I "The Four Kinds of Meaning" _Chapter VII "Doctrine in Poetry" ๐Œ๐ข๐ค๐ก๐š๐ข๐ฅ ๐Œ. ๐๐š๐ค๐ก๐ญ๐ข๐ง: Epic and Novel: Toward a Methodology for the Study of the Novel ๐†๐ž๐จ๐ซ๐ ๐ž๐ฌ ๐๐š๐ญ๐š๐ข๐ฅ๐ฅ๐ž: The Notion of Expenditure ๐‰๐จ๐ก๐ง ๐‚๐ซ๐จ๐ฐ๐ž ๐‘๐š๐ง๐ฌ๐จ๐ฆ: Poetry: A Note in Ontology Criticism as Pure Speculation ๐‘.๐. ๐๐ฅ๐š๐œ๐ค๐ฆ๐ฎ๐ซ: A Critic's Job of Work ๐‰๐š๐œ๐ช๐ฎ๐ž๐ฌ ๐‹๐š๐œ๐š๐ง: The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience ๐†๐ž๐จ๐ซ๐  ๐‹๐ฎ๐ครก๐œ๐ฌ: The Ideal of the Harmonious Man in Bourgeois Aesthetics ๐๐š๐ฎ๐ฅ ๐•๐š๐ฅรฉ๐ซ๐ฒ: Poetry and Abstract Thought ๐Š๐ž๐ง๐ง๐ž๐ญ๐ก ๐๐ฎ๐ซ๐ค๐ž: Literature and Equipment for Living ๐„๐ซ๐ง๐ฌ๐ญ ๐‚๐š๐ฌ๐ฌ๐ข๐ซ๐ž๐ซ: Art ๐–. ๐Š. ๐–๐ข๐ฆ๐ฌ๐š๐ญ๐ญ ๐š๐ง๐ ๐Œ๐จ๐ง๐ซ๐จ๐ž ๐‚. ๐๐ž๐š๐ซ๐๐ฌ๐ฅ๐ž๐ฒ: The Intentional Fallacy The Affective Fallacy ๐‚๐ฅ๐ž๐š๐ง๐ญ๐ก ๐๐ซ๐จ๐จ๐ค๐ฌ: The Heresy of Paraphrase Irony as a Principle of Structure ๐‰๐š๐ง ๐Œ๐ฎ๐ค๐šล™๐จ๐ฏ๐ฌ๐ครฝ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Standard Language and Poetic Language ๐‰๐ž๐š๐ง-๐๐š๐ฎ๐ฅ ๐’๐š๐ซ๐ญ๐ซ๐ž: Why Write? ๐’๐ข๐ฆ๐จ๐ง๐ž ๐ƒ๐ž ๐๐ž๐š๐ฎ๐ฏ๐จ๐ข๐ซ: The Second Sex _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Chapter X: Summary _Chapter XI: Myth and Reality ๐‘๐จ๐ง๐š๐ฅ๐ ๐’. ๐‚๐ซ๐š๐ง๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Toward a More Adequate Criticism of Poetic Structure ๐๐ก๐ข๐ฅ๐ข๐ฉ ๐–๐ก๐ž๐ž๐ฅ๐ฐ๐ซ๐ข๐ ๐ก๐ญ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ The Burning Fountain _Chapter IV: The Logical and Translogical ๐“๐ก๐ž๐จ๐๐จ๐ซ ๐€๐๐จ๐ซ๐ง๐จ: Cultural Criticism and Society ๐‘๐จ๐ฆ๐š๐ง ๐‰๐š๐ค๐จ๐›๐ฌ๐จ๐ง: The Metaphoric and Metonymic Poles ๐๐จ๐ซ๐ญ๐ก๐ซ๐จ๐ฉ ๐…๐ซ๐ฒ๐ž: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Anatomy of Criticism _Second Essay, Ethical Criticism: Theory of Symbols ๐†๐š๐ฌ๐ญ๐จ๐ง ๐๐š๐œ๐ก๐ž๐ฅ๐š๐ซ๐: The Poetics of Space _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Introduction ๐„. ๐‡. ๐†๐จ๐ฆ๐›๐ซ๐ข๐œ๐ก: Art and Illusion _๐˜ง๐˜ณ๐˜ฐ๐˜ฎ From Representation to Expression ๐Œ๐š๐ซ๐ญ๐ข๐ง ๐‡๐ž๐ข๐๐ž๐ ๐ ๐ž๐ซ: The Nature of Language ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Language in the Poem ๐„. ๐ƒ. ๐‡๐ข๐ซ๐ฌ๐œ๐ก, ๐‰๐ซ.: Objective Interpretation ๐‰๐š๐œ๐ช๐ฎ๐ž๐ฌ ๐ƒ๐ž๐ซ๐ซ๐ข๐๐š: Structure, Sign and Play in the Discourse of the Human Sciences ๐‘๐จ๐ฅ๐š๐ง๐ ๐๐š๐ซ๐ญ๐ก๐ž๐ฌ: The Structuralist Activity The Death of the Author ๐Œ๐ข๐œ๐ก๐ž๐ฅ ๐…๐จ๐ฎ๐œ๐š๐ฎ๐ฅ๐ญ: Truth and Power ๐†๐ž๐จ๐ซ๐ ๐ž๐ฌ ๐๐จ๐ฎ๐ฅ๐ž๐ญ: Phenomenology of Reading ๐‘๐š๐ฒ๐ฆ๐จ๐ง๐ ๐–๐ข๐ฅ๐ฅ๐ข๐š๐ฆ๐ฌ: The Country and the City _Chapter IV "Golden Ages" ๐‰๐ฎ๐ฅ๐ข๐š ๐Š๐ซ๐ข๐ฌ๐ญ๐ž๐ฏ๐š: From One Identity to Another ๐๐š๐ฎ๐ฅ ๐ƒ๐ž ๐Œ๐š๐ง: Semiology and Rhetoric ๐‡๐š๐ซ๐จ๐ฅ๐ ๐๐ฅ๐จ๐จ๐ฆ: The Dialectics of Poetic Tradition ๐‚๐ก๐ข๐ง๐ฎ๐š ๐€๐œ๐ก๐ž๐›๐ž: Colonialist Criticism ๐’๐ญ๐š๐ง๐ฅ๐ž๐ฒ ๐…๐ข๐ฌ๐ก: Normal Circumstances, Literal Language, Direct Speech Acts, the Ordinary, the Everyday, the Obvious, What Goes Without Saying, and Other Special Cases ๐„๐ฐ๐š๐ซ๐ ๐–. ๐’๐š๐ข๐: The World, the Text, and the Critic ๐„๐ฅ๐š๐ข๐ง๐ž ๐’๐ก๐จ๐ฐ๐š๐ฅ๐ญ๐ž๐ซ: Toward a Feminist Poetics ๐’๐š๐ง๐๐ซ๐š ๐Œ. ๐†๐ข๐ฅ๐›๐ž๐ซ๐ญ ๐š๐ง๐ ๐’๐ฎ๐ฌ๐š๐ง ๐†๐ฎ๐›๐š๐ซ: ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ Infection in the Sentence ๐Œ๐ฎ๐ซ๐ซ๐š๐ฒ ๐Š๐ซ๐ข๐ž๐ ๐ž๐ซ: "A Waking Dream": The Symbolic Alternative to Allegory Index
Added by WiebeVancamp ยท Last edited by belloga