Get an answer for 'What's the difference between practical and literary criticism?' And find homework help for other Literature questions at eNotes. Dlc Going East Keygen Generator. Sonny Clark Trio 1957 Rare. Richards' paternity of the New Criticism is in two books of critical theory, The Principles of Literary Criticism (1924) and Practical Criticism (1929).

Ivor Armstrong Richards – poet, dramatist, speculative philosopher, psychologist and semanticist, is among the first of the 20th century critics to bring to English criticism a scientific precision and objectivity. Autodata 3 23 Keygen For Mac. He is often referred to as the ‘critical consciousness’ of the modern age. New Criticism and the whole of modern poetics derive their strength and inspiration from the seminal writings of Richards such as Principles of Literary Criticism, Practical Criticism, Coleridge on Imagination, The Foundation of Aesthetics (with C.K.Ogden and James Wood) and The Meaning of Meaning (with Ogden). Together with T.S.Eliot, Richards was instrumental in steering Anglo-American criticism along a new path of scientific enquiry and observation.

Practical Criticism Richard’s influence rests primarily on his Practical Criticism (1929) which is based on his experiments conducted in Cambridge in which he distributed poems, stripped of all evidence of authorship and period, to his pupils and asked them to comment on them. He analyses factors responsible for misreading of poems. Even a “reputable scholar” is vulnerable to these problems. 1) First is the difficulty of making out the plain sense of poetry. A large proportion of average-to-good readers of poetry simply fail to understand it. They fail to make out its prose sense, its plain, overt meaning. They misapprehend its feeling, its tone, and its intention.

2) Parallel to the difficulties of interpreting the meaning are the difficulties of sensuous apprehension. Words have a movement and may have a rhythm even when read silently. Many a reader of poetry cannot naturally perceive this.

3) There are difficulties presented by imagery, principally visual imagery, in poetic reading. Images aroused in one mind may not be similar to the ones stirred by the same line of poetry in another, and both may have nothing to do with the images that existed in the poet’s mind. 4) Then comes the persuasive influence of mnemonic irrelevancies ie, the intrusion of private and personal associations.

5) Another is the critical trap called stock responses, based on privately established judgments. These happen when a poem seems to involve views and emotions already fully prepared in the reader’s mind. 6) Sentimentality, ie, excessive emotions 7) inhibition, ie hardness of heart are also perils to understanding poetry. 8) Doctrinal adhesions present another troublesome problem. The views and beliefs about the world contained in poetry could become a fertile source of confusion and erratic judgment.