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Affective fallacy - the error of judging a literary work by its emotional effect upon readers or a confusion between the work itself and its results.
The term comes from combining two words: affective, which means pertaining to emotional effects or natures, and fallacy, which means false or mistaken idea.
Affect was a Middle English word taken from the Middle French affaire, meaning “to influence;” affaire was derived from the Latin afficere, which was formed by joining ab and facere, meaning “to do.” Fallacy is from the Latin fallacia, which was derived from fallac- or fallax, meaning “deceitful.” These terms were originally from fallere, meaning “to deceive.”
In essence, avoidance of the affective fallacy demonstrates an attempt to create objective literary criticism, in which the critic is concerned with describing the rhetorical composition of a work— how it functions — rather than with describing the impact of a work — what it does — on the reader.
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defamiliarization, the distinctive effect achieved by literary works in disrupting our habitual perception of the world, enabling us to ‘see’ things afresh, according to the theories of some English Romantic poets and of Russian Formalism. Samuel Taylor Coleridge in Biographia Literaria (1817) wrote of the ‘film of familiarity’ that blinds us to the wonders of the world, and that Wordworth's poetry aimed to remove. P. B. Shelley in his essay ‘The Defence of Poetry’ (written 1821) also claims that poetry ‘makes familiar objects be as if they were not familiar’ by stripping ‘the veil of familiarity from the world’. In modern usage, the term corresponds to Viktor Shklovsky's use of the Russian word ostranenie (‘making strange’) in his influential essay ‘Poetry as Technique’ (1917). Shklovsky argued that art exists in order to recover for us the sensation of life which is diminished in the ‘automatized’ routine of everyday experience. He and the other Formalists set out to...