Question 1: In her book, Basic Issues in Aesthetics (1998), cited in the Study Guide, Marcia Eaton discusses the difficulties with defining the terms “beauty” and “aesthetics.” Referring to this excerpt, in an essay of 500-800 words, argue that it is possible for these terms to be used objectively despite arguments to the contrary. In other words, argue that it possible to define what “beauty” and “aesthetics” are. You may refer to the examples Eaton uses but can also provide your own. Include your references to the Study Guide both in-text and in a bibliography. [30] Question 2: Compare the theories of New Criticism and Mukařovský’s Receiver Centered Theory by discussing the similarities and differences between them under the following headings: object of study, main hypothesis, theoretical terms, shortcomings (weaknesses) and explanatory value (strengths). Include your references to the Study Guide both in-text and in a bibliography. [50] Question 3: Discuss the three fallacies of New Criticism by unpacking their theoretical frameworks in your own words while referencing the Study Guide. [20] THL 1501 ASSIGNMENT 02 Due date: 14 April 2026 Unique number: 65781

Question 1:
It is possible to argue for an objective use of "beauty" and "aesthetics" by focusing on shared human cognitive and perceptual structures, as well as cultural consensus and functional criteria. While Marcia Eaton highlights the subjective nature of these terms, objectivity can be found in principles like symmetry, harmony, proportion, and craftsmanship, which are often recognized across cultures and time periods as contributing to aesthetic value. For instance, a well-composed piece of music or a structurally sound building can be objectively assessed for its aesthetic qualities based on established principles, regardless of individual preference. The aesthetic function of an object, its purpose and how well it fulfills it, can also provide an objective basis for evaluation. This approach distinguishes between personal liking and a critical assessment of inherent qualities.

Question 2:
Here's a comparison of New Criticism and Mukařovský’s Receiver Centered Theory:

• Object of study:

  • New Criticism: The literary text itself, viewed as an autonomous, self-contained object.
  • Mukařovský’s Receiver Centered Theory: The aesthetic object as a sign, its aesthetic function, and its reception by the audience within a specific social and historical context.

• Main hypothesis:

  • New Criticism: The meaning of a literary work is intrinsic to the text and can be discovered through close reading, independent of authorial intent or reader response.
  • Mukařovský’s Receiver Centered Theory: The aesthetic function and meaning of a work are dynamic and determined by the collective consciousness of the audience, making art a social fact.

• Theoretical terms:

  • New Criticism: Organic unity, paradox, irony, ambiguity, tension, objective correlative, intentional fallacy, affective fallacy, heresy of paraphrase.
  • Mukařovský’s Receiver Centered Theory: Aesthetic function, norm, value, structure, sign, collective consciousness, foregrounding, automatization.

• Shortcomings (weaknesses):

  • New Criticism: Tends to ignore historical, cultural, and biographical contexts, as well as the role of the reader. It can lead to an overly narrow interpretation of texts.
  • Mukařovský’s Receiver Centered Theory: Can be seen as overly abstract and complex, potentially downplaying individual reader experience in favor of collective reception.

• Explanatory value (strengths):

  • New Criticism: Promotes rigorous close reading and detailed textual analysis, highlighting the importance of literary devices and the internal coherence of a work.
  • Mukařovský’s Receiver Centered Theory: Accounts for the social and historical variability of aesthetic judgment, emphasizing the dynamic nature of art and its connection to broader cultural systems.

Question 3:
New Criticism identifies three key fallacies that critics should avoid:

• Intentional Fallacy:

  • This fallacy refers to the mistaken belief that the author's intention is the ultimate or correct meaning of a literary work. New Critics argued that the author's private intentions are inaccessible and irrelevant to the text's meaning. The work must stand on its own, and its meaning is embedded in its language and structure, not in the author's mind.

• Affective Fallacy:

  • This fallacy describes the error of judging or interpreting a literary work based on its emotional effect on the reader. New Critics contended that reader response is subjective, variable, and therefore an unreliable basis for objective interpretation or evaluation. The focus should remain on the objective qualities of the text itself, rather than the reader's feelings.

• Heresy of Paraphrase:

  • This fallacy asserts that the meaning of a poem or any literary work cannot be fully expressed in a simple prose summary or paraphrase. New Critics believed that a literary work is an organic whole where form and content are inseparable. Paraphrasing reduces the work's complexity, its unique structure, imagery, and rhythm, thereby destroying its essential meaning and aesthetic value. The "meaning" is in the experience of the work itself, not just its propositional content.