Get Once-Told Tales: An Essay in Literary Aesthetics PDF

By Peter Kivy

Drawing comparisons with different paintings kinds, this ebook examines the function of aesthetic good points in silent studying, similar to narrative constitution, and the center event of analyzing 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 standpoint 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 several results of a number of narrative approaches

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Additional info for Once-Told Tales: An Essay in Literary Aesthetics

Sample text

Carroll, “Non-perceptual Aesthetic Properties,” p. 415. 2/5/2011 3:19:16 PM Chapter 3 The Aesthetic Property Its Kinds and Its Kind 1 Some Varieties of Aesthetic Properties There is no question here of trying to give an exhaustive typology of aesthetic properties, nor do I claim that my mode of classification is the only possible one. But I do think it would be helpful to distinguish a few different kinds. a Simple perceptual properties Many of the aesthetic properties Sibley enumerated, in his original essay, were properties that seem to be experienced much in the way we experience simple sensible properties such as colors or tastes or smells.

Nor does Baumgarten, at least in the Reflections on Poetry, ever single out any particular perceptual qualities as “aesthetic,” the way we are wont to do. But he does single out poetic discourse, in which we would say “aesthetic” properties abound, as the purveyor, par excellence, of “sensate representations,” mental simulacra of external, and, for the most part, visual perceptions. As Baumgarten puts the point, “the representation of a picture is very similar to the sense idea to be depicted, and this is poetic ….

There is, however, a direct analogue in absolute music to the serious structural reader; what obviously should be called the serious structural listener. For, whereas there is no step in absolute music from the serious in-itfor-the-“story” listener to the listener who thinks about the propositional content of absolute music, as it has no such content, there is a step to the structural listener—a step encouraged by the repeated listening to such music, or, perhaps, the very motivation for repeated listening—its ultimate payoff.

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