By Peter Kivy
Drawing comparisons with different artwork varieties, this ebook examines the function of aesthetic positive aspects in silent analyzing, similar to narrative constitution, and the center adventure of interpreting a unique as a narrative instead of a scholarly workout.
- Focuses at the adventure of the artwork shape often called the novel
- Uses the extra universal viewpoint of a reader who reads to learn a narrative, instead of for scholarly or serious analysis
- Draws comparisons with event of the opposite arts, tune in particular
- Explores the various results of quite a number narrative approaches
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Extra resources for Once-Told Tales: An Essay in Literary Aesthetics
For, as we have seen, Hutcheson models the perception of beauty on the Lockean account of our perception of secondary qualities. Thus, as it is correct to say that, when my eye causally interacts with the atomic structure of the external world and the sensation of redness is induced in me, I perceive, I see the color red, so it is correct to say that, when my internal sense of beauty causally interacts with the complex idea (say) of the special theory of relativity and the idea of beauty is induced in me, I perceive, by sense perception, as Hutcheson construes it, the beauty of that theory.
The upshot of all this is that, in the ways just stated, although rich in emotive qualities, the novel is not, thereby, richer in aesthetic qualities. In this respect it is, again, a non-aesthetic art. But it must now be acknowledged that the kinds of emotive properties canvassed above do not exhaust the possibilities. There are, as well, the expressive properties of literary language itself. For not only does literary language describe for us characters and events that are sad or joyful, or whatever, the language in which such characters and events are described can be emotively charged as well: it too, qua language, can possess expressive properties.
That aside, the normal way of silently reading poems, if Burke’s critique is correct, as I have been claiming it is, precludes any important “visual” component to the silent appreciation of poetry, but does allow, so I claim, an important “sonic” one. What, though, of, after all, the central case of silently read literary fiction, which is to say prose fiction and, in particular, the novel? Here we are inclined to think that, in contrast with poetry, the sound of the language is hardly paramount.
Once-Told Tales: An Essay in Literary Aesthetics by Peter Kivy