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The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value. It is the antithesis of affective criticism, which is the practice of evaluating the effect that a literary work has on its reader or audience.
For instance, you could correctly say, “The effects of climate change can be felt worldwide” and “This medicine may have some side effects.” “Affect,” meanwhile, is a verb that means ...
Affect, emotion, or feeling is displayed to others through facial expressions, hand gestures, posture, voice characteristics, and other physical manifestation. These affect displays vary between and within cultures and are displayed in various forms ranging from the most discrete of facial expressions to the most dramatic and prolific gestures ...
Affect, as a term of rhetoric, is the responsive, emotional feeling that precedes cognition. [1] Affect differs from pathos as described by Aristotle as one of the modes of proof [2] and pathos as described by Jasinski as an emotional appeal [3] because it is “the response we have to things before we label that response with feelings or emotions.” [4]
For example, Donald Nathanson uses the "affect" to create a narrative for one of his patients: [5] I suspect that the reason he refuses to watch movies is the sturdy fear of enmeshment in the affect depicted on the screen; the affect mutualization for which most of us frequent the movie theater is only another source of discomfort for him. ...
For him, a literary work is not an object in itself but an effect to be explained. But he asserts this response is controlled by the text. For the "real" reader, he substitutes an implied reader, who is the reader a given literary work requires.
In linguistics, affect is an attitude or emotion that a speaker brings to an utterance. Affects such as sarcasm, contempt, dismissal, distaste, disgust, disbelief, exasperation, boredom, anger, joy, respect or disrespect, sympathy, pity, gratitude, wonder, admiration, humility, and awe are frequently conveyed through paralinguistic mechanisms such as intonation, facial expression, and gesture ...
AFFECT/AFFECTION. Neither word denotes a personal feeling (sentiment in Deleuze and Guattari). L'affect (Spinoza's affectus) is an ability to affect and be affected. It is a prepersonal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body's capacity to act.