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Record identifier : 564231
Personal Name - Primary Intelectual Responsibility : Karimi, Darioush
Title and statement of responsibility : The Implied Reader in 18th Century Literary Criticism [Thesis]/داریوش کریمی;supervisor: Dr. A.Nafisi;advisor: Dr. S.Arbab Shirani
Publication, Distribution,Etc. : , June 1995
Language of the Item : eng
Internal Bibliographies/Indexes Note : Bibliography 85 - 88
Dissertation of thesis details and type of degree : Master of Arts(M.A)
Body granting the degree : , College of Persian Literature and Foreign Languages Allameh Tabatabaei
Summary or Abstract : Eighteenth century England witnesses a blooming age in literary criticism, along with great literary figures, appear men of high stature in critical activity. Proceeding soon after Dryden, who is justly called " the father of English Criticism ". and inheriting the whole philosophical inquiries of the previous century, this century exhibits an age of celebrated achievements in the practice and theory of criticism. Systematic critical activity starts right before the inauguration of the century and develops gradually in these years, embracing various trends from aesthetic study of human perception of art by philosophical theorists such as David Hume to the renowned criticism of Dr. Johnson. Yet, this is not the only reason to focus on this century for a study in literary theory. Being of significant achievement in various respects, 18th century literary theory specifically shows a major tendency toward emotive and affective formulations. To illuminate this point, it is best to turn to M.H.Abrams's statement in the introduction to The Mirror and The Lamp. He maintains that four elements in " the total situation of a work of art " can be discriminated. First, it is the work, the artistic product. Second, the artist, since the work is " a human product, artifact ", originated by an artificer. Third, the universe, the subject matter which, directly or deviously, is derived from the existing world. And fourth, the audience, the listeners, spectators, that are usully grouped and called as the readers of the work, those who are addressed by the work and " to whose attention it becomes available "..
Information of biblio record : TL
 
 
 
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