Abstract
This paper focuses on authorial intent, not as it pertains to judgment or criticism but to the struggle to find meaning and value in works of literature. The essay discusses ideas from "The Intentional Fallacy" by Wimsatt and Beardsley in order to provide a plausibility structure for the concerns that underlie that work. The essay argues the work should be separated from the author, and that the work should have its own ontological status. Further, the essay examines Sartre's phenomenological inquiry into the act of writing to reveal the transactional nature of writing between the author and the reader. Finally, the essay uses Husserl's formulation of the process of sedimentation to show that the introduction of a biological or genetic inquiry into the author of a work potentially "sediments" elements which do not belong intentionally to the text.

From the Paper
"Carlos Fuentes, noted Mexican author of The Death of Artemio Cruz, suggests, "Writing is the struggle against silence." It would be reasonable to contend that the struggle is the author's alone. Yet, the act of writing is irrevocably tied up in the act of reading. Sartre suggests that the question of "Why write" is "tied up with another one...For whom does one write?" The author once she has written-passes the struggle onto the reader. In 1946, W.K. Wimsatt and Monroe Beardsley in their landmark essay, "The Intentional Fallacy," contend that the author's struggle cannot and should not factor into ours, "the design or intention of the author is neither available nor desirable as a standard for judging the success of work of literary art.""

Tags:literary criticism, biographic inquiry, meaning

Abstract
The paper discusses how Edwin Morgan assumes a false persona in his poetry. In particular, the paper discusses the issue of the authorial voice, that is the voice or speaker used by the author when s/he seemingly speaks for her/himself. The paper looks at how the notion of authorial voice is understood by twentieth-century critics and illustrated in Morgan's poetry.

From the Paper
"Critics attempting to encapsulate the poetry of Edwin Morgan in a single term soon find themselves bewildered. His position as the most eminent contemporary poet in Scotland is, indeed, largely due to his enthusiastic multiplicity, in terms of language--Morgan has translated works from Russian, German, French, and even Hungarian--but also in terms of poetic devices. With some cubist restlessness, Morgan has created and abandoned techniques of his own devising: emergent poetry, performance and concrete poetry, instamatics, newspaper cut-outs and even wordless poems. Indeed, his awareness that language is a living and cleverly intelligent tool with which you can play gives rise in his poetry to a prodigious diversity of voices."

Tags:plurality, human, qualities

Abstract
As a modernist writer, William Faulkner extensively makes use of and experiments with the literary technique of stream-of-consciousness. This being, by definition, "a narrative technique ... that renders the inner life of a character through an unending flow of thoughts, emotions, images, memories, and other associations moving through the character's mind." Faulkner, therefore, by making use of various narrative devices, guides the reader's imagination throughout the first section of "The Sound and the Fury" in such a way that she or he experiences the world of the thirty-three-year-old retarded narrator, Benjy, the way the latter does. This paper looks into the several authorial instructions for the production of actual sensory content, as well as into Faulkner's depiction of 'moving images,' which is often such that the process of composing the images on the mental retina is rendered less demanding.

Paper Outline
Introduction
Sensory Mimesis
Vision
Other Senses
Making and Moving Images
Conclusion

From the Paper
""[Faulkner] always stressed the 'realness' of his characters, calling them 'flesh and blood people'... But, on the other hand, he always emphasized the artist's 'grab-bag of tools' and with that the artificiality of the character, constructed out of linguistic material." The fact is, like any writer, Faulkner has to try hard to translate the 'realness' of his characters onto paper, essentially making use of the linguistic sign. And he does that by constructing the personality and consciousness of a particular character by using specific linguistic and narrative devices. Bockting, in his article 'Mind style as an interdisciplinary approach to characterization in Faulkner', terms this narrative approach as mind style, and defines it as 'the construction and expression in language of the conceptualization of reality in a particular mind."

Tags:critical, fury, literature

Abstract
This paper discusses the traces of Sidney's self-consciousness in "Astrophil and Stella" and the tension between his insistence on sincerity and his use of rhetorical and poetic figures. It then looks at Sidney's growing awareness and anxiety about poetry's capacity to persuade and manipulate and links this to the relationship between poetry and violence in Shakespeare's "The Rape of Lucrece".

From the Paper
"Given his status as prominent courtier and self-styled defender of poetry, it is hardly surprising that artistic self-consciousness is so prominent in the work of Philip Sidney, particularly in the sonnet series Astrophil and Stella. Throughout the series, Sidney seems determined to prove the worth of English as a poetic language capable of revitalizing tired poetic conventions, and his self-conscious attention to style can be seen simply as the manifestation of this aim. However, in exploring poetry's nature both as a means of expression and a force particularly suited to teach and delight, Sidney also acknowledges its darker side, its potential as a vehicle for self-deception and manipulation. This too is illustrated in Astrophil and Stella, through Astrophil's decline into self-deluding attempts to make reality cohere with poetic vision and to shape himself into a courtly lover. The failure of such attempts amounts to an acknowledgment of the slippery relationship between poetry, self-fashioning and delusion, and Astrophil becomes an image of the poet simultaneously inspired and paralyzed by an awareness of this relationship."

Tags:consciousness, renaissance, rhetoric, stella

Abstract
Through an examination of the interplay between the controlled and impassioned personas, it is ascertained whether De Quincey's portrayal of a divided self in his novel "Confessions of an English Opium Eater", is as clear-cut as the romantic view, or, whether his ego is a rendezvous of indeterminable personas. The meta-narrative repercussions of this interplay on structure, language and authorial perspective is also examined.

From the Paper
""Nietzsche's claim that 'the ego is a rendezvous of persons' (Letwin: 1987: 84) is aptly reiterated by Thomas De Quincey: 'A self-conquest may reasonably be set off in counterbalance to any kind or degree of self-indulgence' (De Quincey: 1998: 2). De Quincey exemplifies a distinctly Romantic approach to the complexities of divided selfhood, a view that originates in Plato's concept of the dual self, 'a rational self battling against the irrational self' (Letwin: 1987: 85). In De Quincey's autobiographical work, Confessions of an English Opium-Eater, a tension exists between an impassioned, exaggerated 'self', and an analytical, cohered, 'self', demonstrating an apparent interplay between subjective emotional self and objective creator."

Tags:duality, mind, nietzsche, persona

Abstract
This paper discusses the analysis of literature and text from the perception of a critic. The paper discusses the requisite use of an emotional dimension on the part of the critic in order to gain greater insight into the analyzed text. Additionally, the paper makes the observation that the text must stand alone and not be obfuscated by authorial biography. Finally, the paper maintains that while objectivity is admired, pure intellectual objectivity is not critically effective.

From the Paper
"Descriptive and analytical writing requires a substantial intellectual commitment on the part of the writer to remain impartial in an expository sense. Many textual critics might argue that descriptive and analytical writing requires, rather than an expository objectivity, an emotional objectivity from the perspective of the critic. Yet, this approach might be wrong-headed in the sense that literature and the insightful analysis thereof often requires an emotional engagement on the part of the critic in order fathom not only its textual context, but also its various sub-textual implications. This is a fine point and one that requires clarification, because raw emotionality on the part of the critic is counter-productive and undermines his or her thesis vis-a-vis the given text."

Tags:text, analysis, critical

Abstract
This analytical research paper explores in intricate detail, the following question: How should we read primary sources? This question gives rise to various other questions that are dormant behind the layers of concepts and aspects related to reading and analyzing the information coming from the primary sources. For instance, do primary sources speak for themselves? How should we read them literally so as not to obscure their original meanings? Or do we need to read them in other ways? What role does an understanding of a source's author and his or her audiences play in our reading? What about authorial motivations, perspectives, agendas and purposes?

Abstract
This essay will argue, with particular reference to "Fahrenheit 451" and "The Story of Adele H", that reading, books, and movies are thematically associated in the work of Truffaut. As will be seen, Truffaut does not differentiate between film and books for both exist as mediums through which an authorial consciousness can express itself to a wide audience.

Abstract
This compares two books and their authorial opinions of democracy.

Abstract
It considers problems of date, attribution/authorship, authorial perspective and transmission. The conclusion considers its role in our understanding and definition of fifth century Britain.