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The status of poetry as an aesthetic object
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Michael D. Hurley
Veröffentlicht/Copyright:
24. April 2008
Abstract
Taking back-bearings from Plato, this paper considers the way in which poetry has been categorized as different in kind from the other sister arts specifically in respect of its employment of ‘signes artificiels.’ It is argued that poetry's status as an aesthetic object ought not to be weighed in the balance between its apparent artificiality and its naturalness as a system of signs, but must instead be understood as both more culturally-historically determined and also simultaneously more cognitively determining than has generally been admitted in the tradition of philosophical aesthetics or the praxis of literary criticism.
Published Online: 2008-04-24
Published in Print: 2008-April
© 2008 by Walter de Gruyter GmbH & Co. KG, D-10785 Berlin
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- Vicissitudes de la pulsion dans la théorie narrative. Entre mythicité et littérarité
- Imitation, intertextuality, and hyperreality in U.S. higher education
- An approach to context in human-computer interaction
- The status of poetry as an aesthetic object
- L'aspectualite et le tempo dans ‘Encore L'amour’ de Pierre Reverdy
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- Compound constructions: A reply to Bundgaard et al.
- Sign and the lambda-term
- Semiotics unbounded: An editorial comment
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- Strolling through Semiotics Unbounded
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- Sign machines in the framework of Semiotics Unbounded
- Interpretive semiotics
