Abstract: There is, of course, more than one question posed by the elusive notion of sensibility, especially if we consider it both in its contemporary deployment and in its rich conceptual history. The question I pose here is occasioned by the recent renewal of interest in aesthetic education and, more precisely, in efforts to renew criticism itself by returning to the psychological paradigm of sensibility-formation in the work of I. A. Richards. What might history have to do with such a paradigm and its present utility? And what might Romanticism in particular have to do with it? My answer is that Richards’s modernist project cannot be fully grasped without seeing its deep continuity with a Romantic transformation that posed the question of sensibility in the early Industrial Revolution as naming not only a general cultural crisis, though this was itself a Romantic innovation, but also a crisis that poetry alone could hope to address. Such a recognition has implications, I try to show, for how we approach what might be called the poetics of “achieved sensibility” both then and now.

中文翻译：

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感性问题

摘要：当然，难以捉摸的感性概念提出了一个以上的问题，特别是如果我们同时考虑它的当代应用和丰富的概念历史。我在这里提出的问题是由于最近对审美教育的兴趣重新出现，更确切地说，是通过回到IA理查兹工作中的敏感性形成的心理学范式来努力更新批评本身。历史与这种范式及其目前的效用有什么关系？浪漫主义尤其与它有什么关系？我的回答是，如果不理查兹的现代主义计划，而不能看到它在浪漫主义转型方面的深刻连续性，那么浪漫主义转型就无法充分把握，浪漫主义转型在早期工业革命中提出了敏感性问题，不仅将其命名为一场普遍的文化危机，尽管这本身就是浪漫的创新，但也是单凭诗歌就可以解决的危机。我试图证明，这种认识对于我们从现在到现在都如何处理所谓的“实现的感性”诗学具有影响。