I must confess that I and a few others are burdened with heavy responsibilities regarding the future of criticism. I am certainly, if not the inventor, then at least one of the first systematizers of an absurd critical practice that, as soon as it had peeked its beak out of the nest, flapping its new wet wings, took flight in the minds of the young, becoming a wild ox and sowing avant-garde literature with the mighty tomes of what might as well be called the abstract bear.
Few things are more agreeable than the spectacle of a man who loses his temper; we should be grateful to such people for providing us with moments of often unsullied delight.
Art is not ideology. It is completely impossible to explain art on the basis of the homological relation that it is supposed to maintain with the real of history. The aesthetic process decentres the specular relation with which ideology perpetuates its closed infinity. The aesthetic effect is certainly imaginary; but this imaginary is not the reflection of the real, since it is the real of this reflection.
Since the printing press came into being, poetry has ceased to be the delight of the whole community of man; it has become the amusement and delight of the few.
Even spiritually advanced people are often confused. They feel an inner ecstasy which comes from the vital world, and they think this is the real delight. But it is not so. Real delight comes from the highest world to the soul, and from the soul it saturates the whole being.
Common sense is merely unaided intuition, and unaided intuition is reasoning performed in the absense of instruments and the tested knowledge of science. Common sense tells us that massive satellites cannot hang suspended 36,000 kilometers above the one point on the earth's surface, but they do.
There are moments that I`ve had some real brilliance, you know. But I think they are moments. And sometimes, in a career, moments are enough.
Aesthetics has become too important to be left to the aesthetes. To succeed, hard-nosed engineers, real estate developers, and MBAs must take aesthetic communication, and aesthetic pleasure, seriously. We, their customers, demand it.
A piece of advice I would give to young actors - hang on to your family, and hang on to your reality - and hang on to your "real". Because you're going into the land of make believe.
This duality has been reflected in classical as well as modern literature as reason versus passion, or mind versus intuition. The split between the conscious mind and the unconscious. There are moments in each of our lives when our verbal-intellect suggests one course, and our hearts, or intuition, another.
I'm one of the few people who understands how producing technology requires intuition and creativity, and how producing something artistic takes real discipline.
What I've really liked doing is combining what you might call art criticism or music criticism with something that is happening in real life.
Criticism is above all a gift, an intuition, a matter of tact and flair; it cannot be taught or demonstrated--it is an art.
What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .
There are moments in life when we need to trust blindly in intuition
Comparative criticism teaches us that moral and aesthetic defects are more nearly related than is commonly supposed.