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Prof. Christoph Hesse will be joining the faculty at Critical Theory and the Arts. Prof. Hesse is a Research Associate at the Institute for Media and Communication Studies of the Free University of Berlin. His dissertation work at Ruhr University (Bochum, Germany) was […]
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That means that Popper’s falsifiability criterion was not really a definition of science (he was not into definitions!) but a proposal to adopt a critical attitude towards theories and especially to check whether they were open to empirical testing. It was a proposal or a convention and its merit was to be judged by its helpfulness in coming to grips with problems in the theory of knowledge (and the practice of scientist). As for being timeless and a priori, Popper noted that there are degrees of testability (so the line of demarcation is not sharp) and the testability of particular theories will change with progress in theory and experimental technology.
The word "critical" has positive as well as negative meanings. You can write a critical essay that agrees entirely with the reading. The word "critical" describes your attitude when you read the article. This attitude is best described as "detached evaluation," meaning that you weigh the coherence of the reading, the completeness of its data, and so on, before you accept or reject it.
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As noted, Winters combined the careers of poet, critic, teacher and scholar despite resistance which he blamed on the ‘romantic’ view of creation. Under the influence of this doctrine, the critic came to be regarded as an inferior being, rather like a teacher who really should be doing something else if only he had the ability to do so. With this low regard for critics and commentators went the idea that the poet is set apart from the common herd, divorced from the mundane problems of the world and devoted to a special kind of communication that is only accessible to equally enlightened folk. Winters would have none of that. For him, creative literature and poetry are extensions of ordinary language, perhaps distinguished by a high level of skill and precision in achieving certain effects, but not set apart on the other side of a great divide. He also detested pure theory, divorced from the practical task of crafting words into poetry.
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Yvor Winters (1900-1968) was one of those critics who fall between the cracks of all the theoretical compartments. In addition to his poetry he wrote a lot of criticism including numerous essays devoted to the principles of criticism although he is not a protagonist in the contemporary debate and is not mentioned in it. Even in his lifetime he was a marginal figure, sometimes lumped with the New Critics, sometimes dismissed as a simple-minded moralist. However, his ideas have lasting interest and at the height of his powers he wrote prose of marvellous clarity and vigour. Some of his best essays stand as works of literature in their own right, something that cannot be said of very many modern works of criticism or scholarship.
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