Critical Notes

less explained in naming it
The doctrine of the evolution of literary species is more or
less explained in naming it. Literary species, M. Brunetiere
maintains, do exist. They develop and are transformed into
others in a way more or less analogous to the evolution of
natural types. It remains to see on what basis an objective
judgment can be given. Although M. Brunetiere seems to make
classification the disposal of a work in the hierarchy of
species, and judgment the disposal of it in relation to others
of its own species, he has never sharply distinguished between
them; so that we shall not be wrong in taking his three
principles of classification, scientific, moral, and aesthetic,
as three principles by which he estimates the excellence of a
work. His own examples, indeed, prove that to him a thing is
already judged in being classified. The work of art is judged,
then, by its relation to the type. Is this position tenable?
I hold that, on the contrary, it precludes the possibility of
a critical judgment; for the judgment of anything always means
judgment with reference to the end for which is exists. A bad
king is not the less a bad king for being a good father; and
if his kingship is his essential function, he must be judged
with reference to that alone. Now a piece of literature is,
with reference to its end, first of all a work of art. It
represents life and it enjoins morality, but it is only as a
work of art that it attains consideration; that, in the words
of M. Lemaitre, it ‘exists’ for us at all. Its aim is beauty,
and beauty is its excuse for being.

Yesterday I was at a network meeting and a guy said something like “I’m a very private guy, but I made a goal to tell 10 people that I’m in the market and what I’m looking for. Last week I found 10 people and told them.” I think its great to let others know your situation (unemployed, underemployed, whatever), but I think there might be a better way. Here’s an e-mail that I get from a buddy that is looking for a new position right now (note: the changes in blue are an attempt to keep him anonymous):

Jason,

I got a call in mid-January from a recruiter who knows me. He???s looking for a president of a $10 billion Salt Lake City based maker of widgets (the kind you see at Babys-R-Us, for example). The job looks like a nice fit with my goals, and the recruiter thinks I???m a good fit with the specification. I heard last week that my resume passed the first hurdle.

My lean manufacturing course is complete and I have submitted my project assignment. The final is February 22, so I???m reviewing and preparing.

This month I am particularly interested in high level contacts at widget manufacturing companies. Example targets include WidgetPros, WidgetMakers (owned by All Things Widgets), WowzeeWidgets, Widgiwidgits, AWC (Another Widget Company) and Acme Widgetry (just purchased by Widgipro Asset Management). If you know anyone at any of these companies, please let me know.

I???ll keep you posted.

John Doe
1234 Main Street
Small Town, UT 12345
Phone: (555) 555-5555
Email: john.doe@mail.com

Author of “Experts In Widgets” at: http://widgetexpert.blogspot.com

Ok, here are my thoughts on this:

1. I think its excellent that the guy I met yesterday personally spoke with 10 people - and he’ll probably speak with another 10 this week. But after 4 weeks how is he going to keep those 40 people (10 people each week) up to date on what’s going on? This is not a replacement for talking to people, but another tactic to keep your vast network updated.
2. I really like the length - this is not going to be a pain to read and digest.
3. The e-mail came personally addressed to me. I did not feel like I was getting spammed - this is a good friend of mine and I want to help him. Having my name there was an extra touch that I appreciated.
4. Telling me the position and size of company of a good prospect is critical - it helps me know what to look for. Huge difference between the president of $1M company and a $10B company, right?
5. In the e-mail he told me what the company does, and gave me a tangible example. This really helps me because so many company names are NOT descriptive of what the core business is, but now I can ask others who they know at widget companies.
6. Knowing that he is a LEAN expert is also important because it helps me quantify his skillset. This may be a transferrable skill, further helping me understand what this dude does.
7. When he says “this month I’m particularly interested in…” helps me udnerstand that part of the purpose of this e-mail is to help him. This is not a passive “we’re doing great - hope you are too” e-mail. Rather, this is a call to action.
8. Telling me the names of the companies (and even parent companies) is huge - now I can ask my network for specific information. The difference between “I’m looking for manufacturing companies” and “do you know anyone that works at Company X, Company Y or Company Z” is huge - and critical.
9. At the end of that last paragraph he calls me to action. Nicely, respectfully, but it is clear that he wants to know if I have contacts there.
10. His signature gives me ways to get in touch with him. I already have him in my JibberJobber database - we’re buddies! But he makes it easy for me to find his number - and if I want to forward this to anyone then they can have it too.
11. And, he ends with a link to his blog. This is an excellent way to remind me that he is a thought leader in something, and gives me substance that I can forward to my network. I’m sure you can include a resume with this e-mail also.

So there you go - another excellent example for you to follow. I did not do this in my job search last year but I see the value in sending this type of e-mail out to people to proactively work my network.

Who should this go out to? Everyone in your network. People care about you and your welfare. Include friends, family, past customers, past vendors, etc.

I can’t wait to get the e-mail that says “I landed my dream job! Thanks for your support during these last few months…“

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true place as preliminaries or supplements to the essential
function of criticism
The other forms of critical activity will then find their
true place as preliminaries or supplements to the essential
function of criticism. The study of historical conditions,
of authors” personal relations, of the literary ‘moment,’
will be means to show the work of art ‘as in itself it really
is.’ Shall we then say that the method of appreciation, being
an unusually exhaustive presentment of the object as in itself
it really is, is therefore an indispensable preparation for
the critical judgment? The modern appreciator, after the
model limned by Professor Gates, was to strive to get, as it
were, the aerial perspective of a masterpiece,–to present it
as it looks across the blue depths of the years. This is
without doubt a fascinating study; but it may be questioned
if it does not darken the more important issue. For it is
not the object as in itself it really is that we at last
behold, but the object disguised in new and strange trappings.
Such appreciation is to aesthetic criticism as the sentimental
to the naive poet in Schiller”s famous antithesis. The virtue
of the sentimental genius is to complete by the elements which
it derives from itself an otherwise defective object. So the
aesthetic critic takes his natural need of beauty from the
object; the appreciative critic seeks a further beauty outside
of the object, in his own reflections and fancies about it.
But if we care greatly for the associations of literature, we
Are in danger of disregarding its quality. A vast deal of
pretty sentiment may hang about and all but transmute the most
prosaic object. A sedan chair, an old screen, a sundial,–to
quote only Austin Dobson,–need not be lovely in themselves to
serve as pegs to hang a poem on; and all the atmosphere of the
eighteenth century may be wafted from a jar of potpourri. Read
a lyric instead of a rose jar, and the rule holds as well. The
man of feeling cannot but find all Ranelagh and Vauxhall in
some icily regular effusion of the eighteenth century, and will
take a deeper retrospective thrill from an old playbill than
from the play itself. And since this is so,–since the interest
in the overtones, the added value given by time, the value for
us, is not necessarily related to the value as literature of the
fundamental note,–to make the study of the overtones an
essential part of criticism is to be guilty of the Pathetic
Fallacy; that is, the falsification of the object by the
intrusion of ourselves,–the typical sentimental crime.

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completely express to sense Niagara Falls or the Jungfrau,
for they are infinitely beyond the possibilities of imitation
Is there any way in which this is conceivable? We cannot
completely express to sense Niagara Falls or the Jungfrau,
for they are infinitely beyond the possibilities of imitation.
Yet the particular contour of the Jungfrau is never mistaken
in the smallest picture. In making a model of Niagara we
should have to reproduce the relation between body of water,
width of stream, and height of fall, and we might succeed in
getting the peculiar effect of voluminousness which marks
that wonder of Nature. The soaring of a lark is not like
the pointing upward of a slender Gothic spire, yet there is
a likeness in the attitudes with which we follow them. All
these cases have certain form-qualities in common, by virtue
of which they resemble each other. Now it is these very
form-qualities which Kant is using when he takes the aesthetic
judgment as representative of reason in the world of sense
because it shows the qualities of the ideas of reason,–that
is, unconditional totality or freedom. And we might, indeed,
hope to ‘express the Idea to sense’ if we could find for it
a form-quality, or subjectively, in the phrase of Kant, a
form of reflection.

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on what we now know as the science of art did not ask themselves
this question
IN what consists the Beauty of Visual Form? The older writers
on what we now know as the science of art did not ask themselves
this question. Although we are accustomed to hear that order,
symmetry, unity in variety, was the Greek, and in particular
the Platonic, formula for beauty, we observe, on examining the
passages cited in evidence, that it is rather the moral quality
appertaining to these characteristics that determines them as
beautiful; symmetry is beautiful, because harmonious, and
inducing order and self-restraint. Aristotle”s single
pronouncement in the sense of our question is the dictum: there
is no beauty without a certain magnitude. Lessing, in his
‘Laocoon,’ really the first modern treatise in aesthetics,
discusses the excellences of painting and poetry, but deals
with visible beauty as if it were a fixed quality, understood
when referred to, like color. This is undoubtedly due to his
unconscious reference of beauty to the human form alone; a
reference which he would have denied, but which influences his
whole aesthetic theory. In speaking of a beautiful picture, for
instance, he would have meant first of all the representation
of beautiful persons in it, hardly at all that essential beauty
of the picture as painting, to which every inch of the canvas
is alike precious. It is clear to us now, however, that the
beauty of the human form is the most obscure of all possible
cases, complex in itself, and overlaid and involved as it is
with innumerable interests and motives of extra-aesthetic
character. Beauty in simple forms must be our first study;
and great credit is due to Hogarth for having propounded in
his ‘Analysis of Beauty’ the simple question,–what makes the
quality of beauty to the eye?