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12 Jul 2021, 21:00
Kudos
Bookmarks
Question 1
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
95%
(hard)
Question Stats:
22% (02:45) correct
78%
(02:52) wrong
based on 317
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
66% (01:04) correct 34%
(01:15) wrong
based on 320
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
37% (01:10) correct 63%
(01:11) wrong
based on 325
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
88% (00:39) correct 12%
(01:07) wrong
based on 293
sessions
History
Date
Time
Result
Not Attempted Yet
According to Wimsatt and Beardsley, even though the influence of the author’s ‘intention’ upon the critic’s opinion has been disputed in a number of discussions, it is doubtful whether most of its ‘romantic corollaries’ are widely subject to questioning. The author duo finds the design or intention of the author neither accessible nor desirable as a yardstick for judging the accomplishment of a literary text. They define ‘intention’ as “design or plan in the author’s mind. The intention has obvious affinities for the author’s attitude toward his work, the way he felt, what made him write.”
Even though a text comes into existence only through the medium of an author, it is erroneous to assign the author’s design to the status of a standard by which critics are to evaluate the text. Besides, the question arises as to how a critic is to find out the ‘intention’ behind a text. Wimsatt and Beardsley believe that if the poet was successful in bringing out his intention through the words he had written, it must be evident in the poem itself. And if the poet was not successful in doing so, the critic must move outside the text to search for the intention. Unlike practical messages, which are successful only if the readers correctly infer the intention of the author, poems should just be, not mean.
Another argument that the duo puts forward is regarding the process of revision. Authors often revise their work, thereby creating multiple versions of the same text. This raises the question of which intention is to be considered by the critics. By extension, it raises the question of whether the author’s “former concrete intention was not his intention”.
Wimsatt and Beardsley conclude that a text is neither the critic’s nor the author’s. It is detached from the author at birth and goes about the world beyond his power of intention or ability to control it. The poem belongs to the public. It comes to life through language, which is the peculiar possession of the public and it is about the human being, which is an object of public knowledge.
Even though a text comes into existence only through the medium of an author, it is erroneous to assign the author’s design to the status of a standard by which critics are to evaluate the text. Besides, the question arises as to how a critic is to find out the ‘intention’ behind a text. Wimsatt and Beardsley believe that if the poet was successful in bringing out his intention through the words he had written, it must be evident in the poem itself. And if the poet was not successful in doing so, the critic must move outside the text to search for the intention. Unlike practical messages, which are successful only if the readers correctly infer the intention of the author, poems should just be, not mean.
Another argument that the duo puts forward is regarding the process of revision. Authors often revise their work, thereby creating multiple versions of the same text. This raises the question of which intention is to be considered by the critics. By extension, it raises the question of whether the author’s “former concrete intention was not his intention”.
Wimsatt and Beardsley conclude that a text is neither the critic’s nor the author’s. It is detached from the author at birth and goes about the world beyond his power of intention or ability to control it. The poem belongs to the public. It comes to life through language, which is the peculiar possession of the public and it is about the human being, which is an object of public knowledge.
1. The passage is primarily concerned with:
(A) an evaluator’s paradigm for evaluation.
(B) the worth of the objective at the source.
(C) public knowledge regarding a literary text.
(D) the significance of Wimsatt and Beardsley’s ideas.
(E) the question regarding the revision of literary texts.
(A) an evaluator’s paradigm for evaluation.
(B) the worth of the objective at the source.
(C) public knowledge regarding a literary text.
(D) the significance of Wimsatt and Beardsley’s ideas.
(E) the question regarding the revision of literary texts.
2. The author mentions all of the following EXCEPT:
(A) the work of the author belongs to the public.
(B) language gives life to a piece of literary work.
(C) critics consign meaning to books and poems.
(D) no one has ever questioned the intention of the poet.
(E) practical passages require an understanding of the author’s intention.
(A) the work of the author belongs to the public.
(B) language gives life to a piece of literary work.
(C) critics consign meaning to books and poems.
(D) no one has ever questioned the intention of the poet.
(E) practical passages require an understanding of the author’s intention.
3. According to the passage, the author most likely agrees with all of the following statements EXCEPT:
(A) the intention of the author is redundant.
(B) a text is never for the author to call his own.
(C) the author’s intention must always be preserved.
(D) the author’s attitude towards his work is set in stone.
(E) authors often revise their work creating multiple versions of the text.
(A) the intention of the author is redundant.
(B) a text is never for the author to call his own.
(C) the author’s intention must always be preserved.
(D) the author’s attitude towards his work is set in stone.
(E) authors often revise their work creating multiple versions of the text.
4. What is meant by the statement that “The poem belongs to the public”?
(A) The author writes only for the public.
(B) Critics can never influence the public’s ideas.
(C) The public assigns meaning to a work of literature.
(D) Literature can be possessed only by the public.
(E) Authors and critics are outside the public domain.
(A) The author writes only for the public.
(B) Critics can never influence the public’s ideas.
(C) The public assigns meaning to a work of literature.
(D) Literature can be possessed only by the public.
(E) Authors and critics are outside the public domain.
14 Jul 2021, 05:36
Kudos
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Passage Summary
P1: W&B opinion regarding "author intention is neither accessible nor desirable"
P2: W&B: If the intention is not evident, the critics must find it, even outside text.
P3: which version?
P4: W&B: Text belongs to public
Q1 Primary concern: about evaluating the author's intentions
(A) an evaluator’s paradigm for evaluation. (KEEP)
(B) the worth of the objective at the source. (KEEP)
(C) public knowledge regarding a literary text. (does not talk about what is state of public knowledge regarding ...: eliminated)
(D) the significance of Wimsatt and Beardsley’s ideas. (talks about ideas not its significance or contribution: eliminated)
(E) the question regarding the revision of literary texts. (revision is only in P3: eliminated)
I would like to go for B because A talks about the paradigm for evaluation (to evaluate the work, we must have 1, 2, 3), but for B it talks about objective at the source (= author's intention)
Q2 mentions EXCEPT
(A) the work of the author belongs to the public. (YES: P4)
(B) language gives life to a piece of literary work. (YES: P4)
(C) critics consign meaning to books and poems. (YES: P1-2)
(D) no one has ever questioned the intention of the poet. (not widely debated does not mean no one questions: NOT MENTIONED)
(E) practical passages require an understanding of the author’s intention. (YES: P1)
My answer is D
Q3 Agree EXCEPT
(A) the intention of the author is redundant. (NO - we need to understand author intention)
(B) a text is never for the author to call his own. (YES - in P4 detached from author at birth)
(C) the author’s intention must always be preserved. (YES - it is erroneous to ... -> incorrect to interpret by critics themselves)
(D) the author’s attitude towards his work is set in stone. (YES - the intention has obvious ... in P1)
(E) authors often revise their work creating multiple versions of the text. (YES - in P3)
I choose A.
Q4 poems belong to public because language belongs to public
(A) The author writes only for the public. (incorrect)
(B) Critics can never influence the public’s ideas. (not stated)
(C) The public assigns meaning to a work of literature. (YES)
(D) Literature can be possessed only by the public. (not talking about possession, the possession is assoc with language)
(E) Authors and critics are outside the public domain. (incorrect)
I go with C.
P1: W&B opinion regarding "author intention is neither accessible nor desirable"
P2: W&B: If the intention is not evident, the critics must find it, even outside text.
P3: which version?
P4: W&B: Text belongs to public
Q1 Primary concern: about evaluating the author's intentions
(A) an evaluator’s paradigm for evaluation. (KEEP)
(B) the worth of the objective at the source. (KEEP)
(C) public knowledge regarding a literary text. (does not talk about what is state of public knowledge regarding ...: eliminated)
(D) the significance of Wimsatt and Beardsley’s ideas. (talks about ideas not its significance or contribution: eliminated)
(E) the question regarding the revision of literary texts. (revision is only in P3: eliminated)
I would like to go for B because A talks about the paradigm for evaluation (to evaluate the work, we must have 1, 2, 3), but for B it talks about objective at the source (= author's intention)
Q2 mentions EXCEPT
(A) the work of the author belongs to the public. (YES: P4)
(B) language gives life to a piece of literary work. (YES: P4)
(C) critics consign meaning to books and poems. (YES: P1-2)
(D) no one has ever questioned the intention of the poet. (not widely debated does not mean no one questions: NOT MENTIONED)
(E) practical passages require an understanding of the author’s intention. (YES: P1)
My answer is D
Q3 Agree EXCEPT
(A) the intention of the author is redundant. (NO - we need to understand author intention)
(B) a text is never for the author to call his own. (YES - in P4 detached from author at birth)
(C) the author’s intention must always be preserved. (YES - it is erroneous to ... -> incorrect to interpret by critics themselves)
(D) the author’s attitude towards his work is set in stone. (YES - the intention has obvious ... in P1)
(E) authors often revise their work creating multiple versions of the text. (YES - in P3)
I choose A.
Q4 poems belong to public because language belongs to public
(A) The author writes only for the public. (incorrect)
(B) Critics can never influence the public’s ideas. (not stated)
(C) The public assigns meaning to a work of literature. (YES)
(D) Literature can be possessed only by the public. (not talking about possession, the possession is assoc with language)
(E) Authors and critics are outside the public domain. (incorrect)
I go with C.
11 May 2025, 08:55
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