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Wimsatt and used
Wimsatt and Beardsley divide the evidence used in making interpretations of literary texts ( although their analysis can be applied equally well to any type of art ) into three categories:
Wimsatt uses " Upski " as his middle name, but it is really the graffiti tag he used growing up in Chicago.

Wimsatt and all
William Wimsatt and Cleanth Brooks, it seems to me, have a penetrating insight into the way in which this control is effected: `` For if we say poetry is to talk of beauty and love ( and yet not aim at exciting erotic emotion or even an emotion of Platonic esteem ) and if it is to talk of anger and murder ( and yet not aim at arousing anger and indignation ) -- then it may be that the poetic way of dealing with these emotions will not be any kind of intensification, compounding, or magnification, or any direct assault upon the affections at all.
For Wimsatt and Beardsley, the words on the page were all that mattered ; importation of meanings from outside the text was considered irrelevant, and potentially distracting.
“ The only reservation the theorist need have about such critical impressionism or expressionism ,” says Wimsatt, “ is that, after all, it does not carry on very far in our cogitation about the nature and value of literature … it is not a very mature form of cognitive discourse ” ( Hateful Contraries xvi ).
For Wimsatt and Beardsley, intentional criticism becomes subjective criticism, and so ceases to be criticism at all.
As with the Intentional fallacy, engaging in affective criticism is too subjective an exercise to really warrant the label “ criticism ” at all — thus, for Wimsatt and Beardsley, it is a fallacy of analysis.
For Wimsatt, as for all the New Critics, such impressionistic approaches pose both practical and theoretical problems.

Wimsatt and forms
In addressing such questions, Wimsatt attempts to resolve what it is that makes poetry different from other forms of communication, concluding that “ what distinguishes poetry from scientific or logical discourse is a degree of concreteness which does not contribute anything to the argument but is somehow enjoyable or valuable for its own sake .” For Wimsatt, poetry is “ the vehicle of a metaphor which one boards heedless of where it runs, whether cross-town or downtown — just for the ride ” ( 76 ).

Wimsatt and criticism
Indeed, Wimsatt is concerned with ensuring a level of legitimacy in English studies and he sets about doing so by favouring a scientific approach to criticism ¬— even, for example, decrying affective theory as “ less a scientific view of literature than a prerogative ¬— that of a soul adventuring among masterpieces ” ( Verbal Icon 29 ).
Through studies of works by T. S. Eliot as well as discussions of topics such as “ The Augustan Mode in English Poetry ” and “ The Criticism of Comedy ” ( xi ), Wimsatt attempts to add to the efforts to justify and improve literary criticism ( xix ).
Written with Cleanth Brooks in 1957, Literary Criticism: A Short History is intended as “ a history of ideas about verbal art and about its elucidation and criticism ” ( Wimsatt and Brooks ix ).
A view of literature based on its putative emotional effects will always be vulnerable to mystification and subjectivity ; Wimsatt singles out the belletristic tradition exemplified by critics such as Arthur Quiller-Couch and George Saintsbury as an instance of a type of criticism that relies on subjective impressions and is thus unrepeatable and unreliable.
Wimsatt and Beardsley on an ideal, objective criticism: " It will not talk of tears, prickles or other physiological symptoms, of feeling angry, joyful, hot, cold, or intense, or of vaguer states of emotional disturbance, but of shades of distinction and relation between objects of emotion.

Wimsatt and effect
Wimsatt and Beardsley consider this strategy a fallacy partly because it is impossible to determine the intention of the author — indeed, authors themselves are often unable to determine the “ intention ” of a poem — and partly because a poem, as an act that takes place between a poet and an audience, has an existence outside of both and thus its meaning can not be evaluated simply based on the intentions of or the effect on either the writer or the audience ( see the section of this article entitled “ The Affective Fallacy " for a discussion of the latter ; 5 ).
Wimsatt and Beardsley argue that the effect of poetic language alone is an unreliable way to analyze poetry because, they contend, words have no effect in and of themselves, independent of their meaning.
In “ The Concrete Universal ,” Wimsatt attempts to determine how specific or general ( i. e., concrete or universal ) a verbal representation must be in order to achieve a particular effect.

Wimsatt and reader
This opinion is similar to that expressed by W. K. Wimsatt and Monroe C. Beardsley in their famous essay “ The Affective Fallacy ,” in which they argue that a critic is “ a teacher or explicator of meanings ,” not a reporter of “ physiological experience ” in the reader ( qtd.

Wimsatt and analyzing
In another essay, " The Affective Fallacy ," which served as a kind of sister essay to " The Intentional Fallacy " Wimsatt and Beardsley also discounted the reader's personal / emotional reaction to a literary work as a valid means of analyzing a text.
The Intentional Fallacy, according to Wimsatt, derives from “ confusion between the poem and its origins ” ( Verbal Icon 21 ) – essentially, it occurs when a critic puts too much emphasis on personal, biographical, or what he calls “ external ” information when analyzing a work ( they note that this is essentially the same as the “ Genetic fallacy ” in philosophical studies ; 21 ).

Wimsatt and success
Wimsatt and Monroe Beardsley wrote in their essay The Intentional Fallacy: " the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art.

Wimsatt and text
As a staunch formalist critic, Wimsatt believed in the authority of the poem and that any analysis of a poem must centre on the text itself ( Leitch et al.
Wimsatt admitted the appropriateness of commenting on emotional effects as an entry into a text, as long as those effects were not made the focus of analysis.

Wimsatt and .
* W. K. Wimsatt and Monroe Beardsley: The Intentional Fallacy, The Affective Fallacy
( See The Logic of Scientific Discovery, and philosophers such as Imre Lakatos, Lindley Darden, William C. Wimsatt, and others.
* William Kurtz Wimsatt, Jr. Verbal Icon: Studies in the Meaning of Poetry ( collected essays including the influential critical essays “ The Intentional Fallacy ” and “ The Affective Fallacy ” cowritten with Monroe Beardsley ).
William Upski Wimsatt also began writing about hip-hop in Chicago.
* William C. Wimsatt
* William Kurtz Wimsatt, Jr.
In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled " The Intentional Fallacy ", in which they argued strongly against the relevance of an author's intention, or " intended meaning " in the analysis of a literary work.
* Wimsatt and Beardsley's essays " The Intentional Fallacy " and " The Affective Fallacy.
Later critics who refined their formalist approach to New Criticism by actively rejecting his psychological emphasis included, besides Brooks and Tate, John Crowe Ransom, W. K. Wimsatt, R. P. Blackmur, and Murray Krieger.
Wimsatt, " The Intentional Fallacy " and " The Affective Fallacy ," both key texts of New Criticism.
William Kurtz Wimsatt, Jr. ( November 17, 1907 – December 17, 1975 ) was an American professor of English, literary theorist and critic.
Wimsatt was born in Washington D. C., attended Georgetown University and, later, Yale University, where he received his Ph. D.

used and term
So in these pages the term `` technology '' is used to include any and all means which could amplify, project, or augment man's control over himself and over other men.
As used in this Act, the term ' saline water ' includes sea water, brackish water, and other mineralized or chemically charged water, and the term ' United States ' extends to and includes the District of Columbia, the Commonwealth of Puerto Rico, and the territories and possessions of the United States.
The term enquetes demographiques, previously used for the supplementary investigations carried out in connection with the administrative censuses, was used for the new investigations.
`` Disaffiliation '', by the way, is the term used by the critic and poet, Lawrence Lipton, who has written several articles on this subject, the first of which, in The Nation, quoted as Epigraph: `` We disaffiliate.
The K factor, a term used to denote the rate of heat transmission through a material ( B.t.u./sq. ft. of material/hr./*0F./in. of thickness ) ranges from 0.24 to 0.28 for flexible urethane foams and from 0.12 to 0.16 for rigid urethane foams, depending upon the formulation, density, cell size, and nature of blowing agents used.
This term was also used by the cowboy in the sense of a human showin' fight, as one cowhand was heard to say, `` He arches his back like a mule in a hailstorm ''.
The term soon became used and applied to all stolen animals.
The term " the United States " has historically been used, sometimes in the plural (" these United States "), and other times in the singular, without any particular grammatical consistency.
When used in the broader sense, the term can include many different groups.
The term was initially used generally as an adjective for animals that could live on land or in water, including seals and otters.
Many songs have used this term, including the American patriotic songs " America, The Beautiful " and " God Bless the USA ".
Assistive technology or adaptive technology ( AT ) is an umbrella term that includes assistive, adaptive, and rehabilitative devices for people with disabilities and also includes the process used in selecting, locating, and using them.
Hindu texts used the term shunya ( zero ) to indicate the empty column on the abacus.
Until the 20th century, the term asphaltum was also used.
The term " alphabet " is used by linguists and paleographers in both a wide and a narrow sense.
The use of multi-defined words requires the author or speaker to clarify their context, and sometimes elaborate on their specific intended meaning ( in which case, a less ambiguous term should have been used ).
The term is often used to refer to activities with some potential for physical danger, such as skydiving, mountain climbing and or participating in extreme sports.
The term " droid ", coined by George Lucas for the original Star Wars film and now used widely within science fiction, originated as an abridgment of " android ", but has been used by Lucas and others to mean any robot, including distinctly non-human form machines like R2-D2.
The term android was used in a more modern sense by the French author Auguste Villiers de l ' Isle-Adam in his work Tomorrow's Eve ( 1886 ).
Authors have used the term android in more diverse ways than robot or cyborg.
While current mouthwash treatments must be used with a degree of frequency to prevent this bacteria from regrowing, future treatments could provide a viable long term solution.

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