โ Scribed by David M. Miller
No coin nor oath required. For personal study only.
ACKNOWLEDGMENTS
PREFACE
CONTENTS
I. A. RICHARDS AND T. E. HULME: THE RHETORIC OF METAPHOR
II. THE SECOND GENERATION: WILLIAM EMPSON, ALLEN TATE, JOHN CROWE RANSOM, CLEANTH BROOKS
A. THE ATTITUDE OF WILLIAM EMPSON
B. THE TENSION OF ALLEN TATE
C. THE IRRELEVANT HETEROGENEITY OF JOHN C. RANSOM
D. CLEANTH BROOKS AND THE STRUCTURE OF PARADOX
III. GRANDSONS AND GENEOLOGISTS: W. K. WIMSATT, Jr., PHILIP WHEELWRIGHT, MURRAY KRIEGER
A. THE F ALLACIES OF W. K. WIMSATT
B. THE DIAPHOR OF PHILIP WHEELWRIGHT
C. THE SYNCRETISM OF MURRAY KRIEGER
IV. THEORY AND APPLICATION
A. A GRAMMAR OF METAPHOR
B. THREE METAPHORS
C. ONE POEM
V. AFTERWORD: THEMATICS, THE LOCATION OF VERBAL ART
A. THEMATICS
B. THE LOCATION OF VERBAL ART
BIBLIOGRAPHY
INDEX
๐ SIMILAR VOLUMES
<p>Plato's chora as developed in the Timaeus is a creative matrix in which things arise and stand out in response to the lure of the Good. Chora is paired with the Good, its polar opposite; both are "beyond being" and the metaphors hitherto thought to disclose the transcendent. They underlie Plato's
Plato's chora as developed in the Timaeus is a creative matrix in which things arise and stand out in response to the lure of the Good. Chora is paired with the Good, its polar opposite; both are beyond beingand the metaphors hitherto thought to disclose the transcendent. They underlie Plato's dis
Includes index