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001			73827
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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPN
100	1		_aRichards, I. A. _q(Ivor Armstrong), _d1893-1979
245	1	0	_aPrinciples of literary criticism
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2024
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2024-06-14
505	0		_aThe chaos of critical theories -- The phantom æsthetic state -- The language of criticism -- Communication and the artist -- The critics' concern with value -- Value as an ultimate idea -- A psychological theory of value -- Art and morals -- Actual and possible misapprehensions -- Poetry for poetry's sake -- A sketch for a psychology -- Pleasure -- Emotion and the cœnesthesia -- Memory -- Attitudes -- The analysis of a poem -- Rhythm and metre -- On looking at a picture -- Sculpture and the construction of form -- The impasse of musical theory -- A theory of communication -- The availability of the poet's experience -- Tolstoy's infection theory -- The normality of the artist -- Badness in poetry -- Judgment and divergent readings -- Levels of response and the width of appeal -- The allusiveness of modern poetry -- Permanence as a criterion -- The definition of a poem -- Art, play, and civilisation -- The imagination -- Truth and revelation theories -- The two uses of language -- Poetry and beliefs -- Appendix A on value -- Appendix B on Mr. Eliot's poetry.
508			_aLauren Prichard
520			_a"Principles of Literary Criticism" by I. A. Richards is a scholarly work on literary criticism written in the early 20th century. The book dissects various critical theories, positing that a comprehensive understanding of literature must be rooted in psychological principles and theories of value. Richards aims to clarify how we evaluate art, noting the importance of communication in all forms of artistic expression. The opening of the work serves as both an introduction and a commentary on the current state of critique in the arts. It points out the chaotic landscape of existing literary theories, where despite the accessibility of artistic experiences, there remains a lack of coherent understanding surrounding the value of these experiences. Richards critiques past and contemporary critics, suggesting that while they have made notable observations, they often fail to answer the fundamental question of what makes an artistic experience valuable. Instead of providing mere conjectures, he argues for a systematic exploration through psychology, aiming for a critical framework that can properly organize and evaluate artistic ventures. (This is an automatically generated summary.)
534			_pOriginally published: _cUnited States: Harcourt, Brace and Company, 1928
653			_aCriticism
856	4		_uhttps://archive.org/details/principlesoflite0000rich_b0n0/page/n6/mode/1up
856	4	0	_uhttps://www.gutenberg.org/ebooks/73827
999			_c114552 _d114552