RE ' I have no problem with analysis -- Derek has always dissed it '

I have always 'dissed analysis'?  This must be a case, as Cheerskep says, of
a word meaning different things to different people.  

Let's see.  I am certainly not a fan of analytic aesthetics but the term
'analytic' is really just a label in that case.  As a form of aesthetics, it
is no more analytic than any other - rather less from many points of view
(same goes for analytic philosophy in general).

I do not, as I have said, think one can *prove* why any given work is a work
of art - though I am not against 'analysing' the characteristics of a work
to the extent possible.  Indeed I think it a very valuable thing to do -
though not easy.   

As for theories of art - I mean *general* theories explaining what art is (I
can hear Cheerskep groan) I am all in favour of analysis there.  The more
the better.  Ruthless, uncompromising analysis.

And as for analysis of what language is, yes, bring it on.  That's what I
admire so much about Ellis's book.  Careful, thoughtful analysis.  You can
see it even in his point in that interview that language is not
fundamentally communication (a claim so often and tediously made). 

DA


-----Original Message-----
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] 
Sent: Wednesday, 26 March 2008 2:55 AM
To: [email protected]
Subject: Re: "Signs", "meanings", and associations

Chris writes:

> Setting aside your inquiry to the tight-lipped Derek, just
> what is your problem with the exaltation of analysis, Cheerskep ?
> 
> Is there something wrong with examining various instances of literary
> criticism, by "looking at general ideas or large patterns of significance,

> at
> basic methodological questions, or at unexamined assumptions."
> 
I have no problem with analysis -- Derek has always dissed it. That's why I 
said he surprises me by praising Ellis, who is a champion of "analysis".
But, 
as usual, different people have different things in mind when they use the 
word.


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