The End of Metaphysics: Philosophy’s Supreme Fiction?

1985 ◽  
pp. 3-26 ◽  
Author(s):  
Jonathan Rée
Keyword(s):  
Supreme Fiction

Spenser's Supreme Fiction: Platonic Natural Philosophy and "The Faerie Queene"

2003 ◽  
Vol 34 (1) ◽  
pp. 283
Author(s):  
Albert J. Geritz ◽  
Jon A. Quitslund
Keyword(s):  
Natural Philosophy ◽  
Faerie Queene ◽  
Supreme Fiction ◽  
The Faerie Queene

24. Steven’s Notes Toward a Supreme Fiction, Part III, Section III

1969 ◽  
Vol 28 (3) ◽  
pp. 44-47
Author(s):  
Wilson O. Clough
Keyword(s):  
Supreme Fiction

The Supreme Fiction: On Poetry and Children

1987 ◽  
pp. 125-150
Author(s):  
Gordon Winch
Keyword(s):  
Supreme Fiction

The Invented World: Stevens' "Notes Toward a Supreme Fiction"

ELH ◽  
1961 ◽  
Vol 28 (3) ◽  
pp. 284
Author(s):  
Frank Doggett
Keyword(s):  
Supreme Fiction

WALLACE STEVENS: THE DEDICATION TO “NOTES TOWARD A SUPREME FICTION”

1966 ◽  
Vol 13 (11) ◽  
pp. 417-418
Author(s):  
ROGER MITCHELL
Keyword(s):  
Wallace Stevens ◽  
Supreme Fiction

Wallace Stevens' "Notes toward a Supreme Fiction"

1961 ◽  
Vol 2 (2) ◽  
pp. 20
Author(s):  
Joseph N. Riddel
Keyword(s):  
Wallace Stevens ◽  
Supreme Fiction

scholarly journals ‘A Supreme Fiction’: Michael Fried and Art Criticism

2017 ◽  
Vol 16 (1) ◽  
pp. 89-102
Author(s):  
Alison Green
Keyword(s):  
Nineteenth Century ◽  
Art Criticism ◽  
18Th Century ◽  
Theory And Practice ◽  
French Painting ◽  
Supreme Fiction ◽  
Historical Writings ◽  
Prior Relationship

One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.

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