BIBLIOGRAPHY
Most of the topics in this article are more fully treated
in G. N. G. Orsini, “The Organic Concepts in Aesthetics,”
in Comparative Literature, 31 (1969), 1-30. The most notable
contributions to the history of the idea were made by the
German scholar Oskar Walzel in his Vom Geistesleben alter
und neuer Zeit (Leipzig, 1922), and other works listed in
this article. In English, the fullest historical exposition is
in M. H. Abrams, The Mirror and the Lamp... (New York,
1953), and one of the most perceptive critical expositions
is in Sir Herbert Read, The True Voice of Feeling (New York,
1953). The works of René Wellek contain much that bears
directly on the subject.
The following are references made in the course of the
article. W. Blake, Complete Writings, ed. G. Keynes (Oxford,
1966), pp. 395-96. B. Bosanquet, A History of Aesthetic, 2nd
ed. (London, 1904), pp. 32-33. A. C. Bradley, Oxford Lec-
tures on Poetry (London, 1909), pp. 257-59. C. D. Broad,
Examination of McTaggart's Philosophy (Cambridge, 1933),
I, 240. C. Brooks, “The Poem as Organism: Modern Critical
Procedure,” English Institute Annual 1940 (New York, 1941),
pp. 20-41; idem, “Implications of an Organic Theory of
Poetry,” in M. H. Abrams, ed., Literature and Belief, English
Institute Essays, 1957 (New York, 1958), pp. 53-79; idem
and R. P. Warren, Modern Rhetoric: With Readings (New
York, 1949). H. H. Clark, “Changing Attitudes in Early
American Criticism: 1800-1840,” in Floyd Stovall, ed.,
Development of American Literary Criticism (Chapel Hill,
N.C., 1955). S. T. Coleridge, “On the Principles of Genial
Criticism...” (1814), in J. Shawcross, ed., Biographia
Literaria, 2 vols. (London, 1907), II, 238-39; idem, The
Philosophical Lectures, Hitherto Unpublished, ed. K. Coburn
(New York, 1949), p. 196; idem, Shakespearean Criticism,
ed. T. M. Raysor, new ed., 2 vols. (London, 1960), I, 4-5.
B. Croce, Brevario di estetica, trans. Douglas Ainslie as “The
Breviary of Aesthetics” (Houston, Texas, 1912); book title,
The Essence of Aesthetic (London, 1921); the original is also
in Nuovi saggi di estetica, 2nd ed. (Bari, 1920), pp. 39ff;
idem, Aesthetic as Science of Expression and General Lin-
guistics, trans. Douglas Ainslie, 2nd ed. (London, 1922), pp.
2, 20; idem, Problemi di estetica (Bari, 1910), pp. 192-93.
F. De Sanctis, “Settembrini e i suoi critici,” in Saggi critici,
ed. L. Russo, 3 vols. (Bari, 1965), II, 306. J. Dewey, Art
as Experience (New York, 1934), pp. 192-93. R. H. Fogle,
“Organic Form and American Criticism: 1840-1870,” in
Stovall, op. cit. For J. Harris, see Schwinger, below. G. W. F.
Hegel, Philosophy of Fine Art, trans. F. P. B. Ormaston,
4 vols. (London, 1920), IV, 51; cf. on “The Beauty of Na-
ture,” I, 163-67, 173-75. J. Hospers, “Problems of Aes-
thetics,” in The Encyclopedia of Philosophy, ed. P. Edwards,
8 vols. (New York, 1967), I, 43. M. Krieger, The New Apolo-
gists for Poetry (Minneapolis, 1950); idem, “B. Croce and
the Recent Poetics of Organicism,” Comparative Literature,
7 (1955), 252-58. G. MacKenzie, Organic Unity in Coleridge
(Berkeley, 1939). J. E. McTaggart, The Nature of Existence
(Cambridge, 1921), I, 165-66. G. N. G. Orsini, B. Croce as
Philosopher of Art and Literary Critic (Carbondale, 1961),
p. 317, n. 26; idem, “Coleridge and Schlegel Reconsidered,”
Comparative Literature, 16 (1964), 116-18. H. Osborne, The
Theory of Beauty (London, 1952), p. 124. S. C. Pepper, The
Basis of Criticism in the Arts (Cambridge, Mass., 1945). R.
Schwinger and R. Nicolai, Innere Form und dichterische
Phantasie (Munich, 1935). R. B. West and R. W. Stallman,
The Art of Modern Fiction (New York, 1949), esp. “Form,”
p. 647, and “Structure,” p. 651. O. Wilde, Intentions
(London, 1891), p. 201. E. M. Wilkinson, “Goethe's Con-
ception of Form,” Proceedings of the British Academy, 37
(1951), 186.
For the identification with unconscious growth see: J.
Benziger, “Organic Unity, Leibniz to Coleridge,” PMLA,
66 (1951), 24-48. The following titles do not discuss
“unconscious growth” but the general concept. T. E. Hulme,
“The Philosophy of Intensive Manifolds,” in his Specula-
tions, ed. H. Read (London, 1924), pp. 171-214. C. Lord,
“Organic Unity Reconsidered,” Journal of Aesthetics and
Art Criticism, 52 (1964), 263-68. W. Van O'Connor, An Age
of Criticism, 1900-1950 (Chicago, 1952), p. 58.
G. N. G. ORSINI
[See also
Analogy of the Body Politic; Classicism; Criticism;
Hegelian...; Literature;
Metaphor in Philosophy; \Plato-
nism;
Romanticism in Post-Kantian Philosophy.]
