| | Preface | | |
1 | | The Chaos of Critical Theories | | 1 |
2 | | The Phantom Aesthetic State | | 7 |
3 | | The Language of Critism | | 14 |
4 | | Communication and the Artist | | 20 |
5 | | The Critics Concern with Value | | 29 |
6 | | Value as an Ultimate Idea | | 33 |
7 | | A Psychological Theory of Value | | 39 |
8 | | Art and Morals | | 52 |
9 | | Actual and Possible Misapprehensions | | 57 |
10 | | Poetry for Poetrys Sake | | 64 |
11 | | A Sketch for a Psychology | | 73 |
12 | | Pleasure | | 83 |
13 | | Emotion and the Coenesthesia | | 89 |
14 | | Memory | | 94 |
15 | | Attitudes | | 98 |
16 | | The Analysis of a Poem | | 104 |
17 | | Rhythm and Metre | | 122 |
18 | | On Looking at a Picture | | 134 |
19 | | Sculpture and the Construction of Form | | 147 |
20 | | The Impasse of Musical Theory | | 154 |
21 | | A Theory of Communication | | 160 |
22 | | The Availability of the Poets Experience | | 165 |
23 | | Tolstoys Infection Theory | | 171 |
24 | | The Normality of the Artist | | 176 |
25 | | Badness in Poetry | | 185 |
26 | | Judgement and Divergent Readings | | 192 |
27 | | Levels of Response and the Width of Appeal | | 196 |
| | More... | | |