Abstract
The comparative method in literature, as it has been conceived in the romantic milieu, has always considered analogy, similarity, exchange, as the main reference criteria in criticism. Such criteria are partly due to a political (and ideological) perspective that we tend to apply to the phenomenon of art production. Our reference model is in fact the modern social exchange of men and things in liberal society. Nevertheless, hermeneutic profitability in art is mostly based on distinction and mimetic rivalry.
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