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Charlotte Stanhopes Moral And Intellectual Temperament Video
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Have you written loads of lecture summaries or do you write a lot of notes? On Stuvia, you can sell your study work in a jiffy. Upload your document s , determine your own price and earn money each time you sell your document s. Just think about it, you can finally kiss that dreary part-time job goodbye! Hundred thousands of people are searching for your content every day. You can easily upload your summaries to our platform and start earning money from your study notes. Sign up for free today and start earning while helping others! Search for the best summaries. Do you write study notes yourself? Upload Now.All rights reserved. Oscar Wilde famously remarked that "there is no such thing as a moral or an immoral book. Books are well written, or badly written.
That is all. I accept Wilde's thesis--the creed of aestheticism, of art for art's sake--if understood to mean that the moral content and consequences of a work of literature are irrelevant to its Charlotte Stanhopes Moral And Intellectual Temperament as literature; or as the critic Helen Vendler has put it, that "treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.
Information affects people's outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Of A Passage to India it has been said that "as an account of the social conditions of British India it was powerful enough to have influenced events.
At the core of the Charlott tradition, which I shall be defending in this essay particularly against its opponents in the "law http://pinsoftek.com/wp-content/custom/summer-plan-essay/billy-collins-introduction-to-poetry-analysis.php literature" more info, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of Intellectua information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be Intfllectual off by morally offensive views encountered in literature even when the author appears to share them.
A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors' moral qualities or opinions should not affect our valuations of their works. The insistence, in short, is on the separation of the moral from the aesthetic--but with two qualifications. Some literature has little interest or value apart from the Charlotte Stanhopes Moral And Intellectual Temperament and for it the proper criticism is didactic.
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And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere--in short, the values of liberal individualism. The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, Charlotte Stanhopes Moral And Intellectual Temperament the ethical or political content and effects of works of literature, and less commonly of the author's own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. The counter-tradition that I am describing harbors a considerable diversity of views, and not merely about specific works.
Plato, Tolstoy, [End Page 2] Bentham, and the Puritans, among others, were deeply suspicious of literature and the arts, and unwilling to grant any value to literature that contains immoral ideas. Devotees of the "naked truth," whether religious, philosophical, or scientific, these eminences despised surface and figuration. She does not deny the importance of aesthetic values, visit web page she is prepared to trade them off against the moral, so that the click of the work affects its final evaluation of a work as literature.
Booth, the professional literary critic, being more systematic and wide-ranging in his ethical criticism, is also more censorious. He discusses works that do not meet his high standards for ethical literature as well as ones that do. Nussbaum confines herself to the latter. Some ethical critics want a work of literature to have a tidy moral, as in Aesop's fables, while others think the moral value of literature lies in a more diffuse influence on thinking and action.
Booth and Nussbaum liken the reading of imaginative literature to friendship and emphasize that the effect of a friendship on one's character and outlook is complex and uncertain, yet surely not unimportant. But they do not want to stop with this observation. They want to extract, albeit by consideration of the form as well as the paraphrasable content of the work, a moral lesson.
One Charlotte Stanhopes Moral And Intellectual Temperament easily imagine critics in the moralistic or didactic tradition preparing lists of edifying works of literature for judges to read. If poets are the unacknowledged legislators of the world, should not judges, above all others, pay attention to the moral lessons in poetry?
Should they not look to them for guidance in deciding cases in the open area where precedent and other conventional sources of legal authority run out? Might not Buck v. Bell--Holmes's notorious opinion upholding compulsory sterilization on the ground that "three generations of imbeciles are enough"--have been decided differently had Holmes been steeped in William Blake and Jane Austen instead of Charles Darwin?]
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