![]() ![]() He allows, for example, for what he calls the literary sense of meaning, saying that no two different words or different phrases ever mean fully the same (Verbal Icon xii). ![]() ![]() It first appeared in Essays in Criticism at Oxford some years ago 1954, and was in part, I believe, an answer to an essay written many years ago, about twenty at least, by a friend of mine, Monroe Beardsley, and myself, called The Intentional Fallacy. Your question, I think, was prompted by that very fine essay of Father Ongs, The Jinnee in the Well-Wrought Urn, which you read in his book The Barbarian Within 1962: 15-25. Eliot and the writers of the Chicago School, to formulate his theories, often by highlighting key ideas in those authors works in order to refute them. Wimsatt also drew on the work of both ancient critics, such as Longinus and Aristotle, and some of his own contemporaries, such as T. He was a member of the Connecticut Academy of Arts and Sciences. ![]() Wimsatt was considered crucial to New Criticism (particularly New Formalist Criticism 1372). His major works include The Verbal Icon: Studies in the Meaning of Poetry (1954) Hateful Contraries (1965) and Literary Criticism: A Short History (1957, with Cleanth Brooks ). He wrote many works of literary theory and criticism such as The Prose Style of Samuel Johnson (1941) and Philosophic Words: A Study of Style and Meaning in the Rambler and Dictionary of Samuel Johnson (1948 Leitch et al. ![]()
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