No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 08 January 2010
Like most topics in aesthetics, that of genre is far from simple and for the literary critic has an uninviting air. The questions which arise from its consideration fall under two heads: first, what is a genre? and second, what does it contribute to our understanding of a work of art that we can describe it as belonging to this or that genre? A clear answer to either of these questions is not readily forthcoming: the literary critic who is content to be a critic here very properly hesitates where the philosopher is perhaps inclined to go further. If he does so he will find that the two primary questions about genre have many ramifications, some of which may be suggested by a quotation from René Wellek and Austin Warren's book, Theory of Literature. They ask one question about genre and then re-phrase it: but as they re-phrase their original question it is quite transformed.
page 211 note 1 Wellek, René and Warren, Austin, Theory of Literature, 2nd ed. (New York: Harcourt Brace and Company, Harvest Books edition, 1956) p. 216.Google Scholar
page 212 note 1 Wollheim, Richard, Art and its Objects (Penguin Books, 1970) p. 60.Google Scholar
page 212 note 2 p. 82.
page 212 note 3 p. 86.
page 212 note 4 p. 36.
page 213 note 1 pp. 85–6.
page 215 note 1 Croce, Benedetto, Aesthetic, tr. Ainslie, Douglas (Macmillan, 1909) p. 142.Google Scholar
page 215 note 2 p. 146.
page 216 note 1 Wollheim, , p. 84.Google Scholar
page 216 note 2 Ibid.
page 218 note 1 The Poems of John Milton, ed. Carey, John and Fowler, Alastair (Longmans, 1968) p. 458.Google Scholar
page 219 note 1 Wollheim, , p. 118.Google Scholar
page 219 note 2 Noted by Fowler, from Daiches.
page 222 note 1 Wollheim, 's summary, op. cit., p. 87Google Scholar. Erwin Panofsky's essay ‘The History of Art as a Humanist Discipline’ will be found in his Meaning in the Visual Arts, 1955.Google Scholar
page 222 note 2 Gombrich, Ernst, Meditations on a Hobby Horse (Phaidon Press, 1963) pp. 95–105.Google Scholar
page 222 note 3 Gombrich, , op. cit. p. 95.Google Scholar
page 223 note 1 P. 97.
page 223 note 2 P. 98.
page 223 note 3 P. 99.
page 224 note 1 P. 96.
page 226 note 1 Wollheim, , p. 163.Google Scholar
page 226 note 2 See Merleau-Ponty, Maurice, Signs, translated with an introduction by McCleary, Richard C. (Evanston, Illinois: Northwestern University Press, 1964) p. 76.Google Scholar
page 226 note 3 Wollheim, , p. 89.Google Scholar
page 227 note 1 P. 90.