This critical structure has been in place for a long time. As early as 1819, the Italian poet Alessandro Manzoni was neatly articulating the problem of the reviewer, in his preface to his tragedy in verse The Count of Carmagnola: “Every work of art provides its reader with all the necessary elements with which to judge it. In my view, these elements are: the author’s intent; whether this intent was reasonable; whether the author has achieved his intent.” This trinity of questions, a sturdy and seemingly eternal three-legged stool, is a useful structure for reviewing. But does it actually bring
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