Main features of New Criticism and Challenging Concept by Later Critics and Theorists
New
Criticism is an approach to literature which was developed by a group of
American critics, most of who taught at southern universities during the years
following the First World War. The New Critics wanted to avoid
impressionistic criticism, which
risked being shallow and arbitrary, and social/ historical approaches which
might easily be subsumed by other disciplines. Thus, they attempted to
systematize the study of literature, to develop an approach which was centered
on the rigorous study of the text itself. They were given their name by
John Crowe Ransom, who describes the new American formalists in The New Criticism (1941).
New
Criticism is distinctly formalist in character. It
stresses close attention to the internal characteristics of the text
itself, and it discourages the use of external evidence to explain
the work. The method of New Criticism is foremost a close
reading, concentrating on such formal aspects as rhythm, meter, theme,
imagery, metaphor, etc. The interpretation of a text shows that these aspects
serve to support the structure of meaning within the text.
The aesthetic qualities praised by the New Critics were largely inherited from the critical writings of Samuel Taylor Coleridge. Coleridge was the first to elaborate on a concept of the poem as a unified, organic whole which reconciled its internal conflicts and achieved some final balance or harmony.
The aesthetic qualities praised by the New Critics were largely inherited from the critical writings of Samuel Taylor Coleridge. Coleridge was the first to elaborate on a concept of the poem as a unified, organic whole which reconciled its internal conflicts and achieved some final balance or harmony.
In The Well-Wrought Urn (1947),
Cleanth Brooks integrates these considerations into the New Critical
approach. In
interpreting canonical works of poetry, Brooks constantly analyzes the devices
with which they set up opposing these and then resolve them. Through the use of
"ironic contrast" and
"ambivalence”, the poet is able to create internal paradoxes which
are always resolved. Under close New Critical analysis, the poem is shown to be
a hierarchical structure of meaning, of which one correct reading can be given.
John Crowe Ransom |
In The Verbal Icon (1954),
William Wimsatt and Monroe Beardsley describe two other fallacies which
are encountered in the study of literature.
The
"Intentional Fallacy" is the mistake of attempting to understand
the author's intentions when interpreting a literary work. Such an approach is
fallacious because the meaning of a work should be contained solely within the
work itself, and attempts to understand the author's intention violate the
autonomy of the work.
The
"Affective Fallacy" is the mistake of equating a work with its
emotional effects upon an audience. The new critics believed that a text should
not have to be understood relative to the responses of its readers; its merit
(and meaning) must be inherent.The new criticism distinguished in itself and distinctive in its relation to
past and present in literature, brought out several surveys of the field that
opened it to other than readers of purely literary reviews. Critiques and
Essays in Criticism, 1920-1948, edited by Robert W. Stallman with an
introduction by Cleanth Brooks, represented the achievement of modern critics of
Great Britain and America, the school deriving from the critical work of T. S.
Eliot, F. R. Leavis, and I. A. Richards. Dr. Leavis' program was outlined in his
Education and the University, and his vigorous use of his own methods was
displayed in his The Great Tradition, a study of what Jane Austen, George
Eliot, Henry James, and Joseph Conrad contributed to the tradition of the
English novel and what they drew from it. T. S. Eliot; The Design of His
Poetry, by Elizabeth Drew (first detailed chronological survey of his plays
and light verse), involved her subject in Jungian psychology; T. S. Eliot, a
Study of His Writings by Several Hands, was edited by Balachandra Rajan and
extended from 'The Waste Land' to the present; T. S. Eliot, a symposium
edited by Richard Marsh and M. J. Tambimuttu, had 47 distinguished contributors.
Critics in New Directions II included Henry Miller, Tennessee Williams,
and Kenneth Rexroth, representing the 'advance guard' and experimental fields.
Results of the romantic revival in writing in England during the war years were
represented in A New Romantic Anthology edited by Stefan Schimansky and
Henry Treece. The far-reaching effect of a small, relatively short-lived
magazine was shown in The Importance of 'Scrutiny,' edited by Eric
Bentley; and Transition Workshop, edited by Eugene Jolas
The
New Critics privileged poetry over other forms of literary expression because
the saw the poem as the purest exemplification of the literary values which
they upheld. However, the techniques of close reading and structural analysis
of texts have also been applied to fiction, drama, and other literary forms.
These techniques remain the dominant critical approach in many modern
literature courses.
Because
New Criticism is such a rigid and structured program for the study of
literature, it is open to criticism on many fronts. First, in its insistence on
excluding external evidence, New Criticism disqualifies many possibly fruitful
perspectives for understanding texts, such as historicism, psychoanalysis,
and Marxism. Since
New Criticism aims at finding one "correct" reading, it also
ignores the ambiguity of language and the active nature of the perception
of meaning described by poststructuralists. Finally, it
can even be perceived as elitist, because it excludes those readers who
lack the background for arriving at the "correct" interpretation.
However,
defenders of New Criticism might remind us that this approach is meant to deal
with the poem on its own terms. While New Criticism may not offer us a wide
range of perspectives on texts, it does attempt to deal with the text as a work
of literary art and nothing else.
Key Points Discussed Here:
New Criticism:
👉Close reading of the text, focusing on its formal elements.👉Emphasis on the autonomy of the literary work.
👉Avoidance of authorial intention and historical context.
👉Focus on ambiguity, paradox, and irony within the text.
👉Rejection of extrinsic factors in literary analysis.
Challenging Concepts by Later Critics and Theorists:
👉Poststructuralism deconstructs meaning and questions the stability of language.👉Feminist theory examines gender and power dynamics in literature.
👉Postcolonial theory explores the impact of colonialism and cultural hegemony.
👉Reader-response theory emphasizes the role of the reader in interpreting the text.
👉Intersectionality considers multiple social identities and their intersection in literary analysis.
References
1.Principles of Literary Criticism | work by Richards. (n.d.). Encyclopedia Britannica. https://www.britannica.com/topic/Principles-of-Literary-Criticism
2.Richards, I. (1924). Principles of literary criticism.
3. The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910 : Joel Elias Spingarn : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/newcriticismale00spingoog
New Criticism is an approach to literature made popular in the 20th century that evolved out of formalist criticism. This term, set current by the publication of John Crowe Ransom's The New Criticism in 1941, came to be applied to a theory and practice that was prominent in American literary criticism until late in the 1960s. The movement derived in considerable part from elements in I.A. Richards's Principles of Literary Criticism (1924) and Practical Criticism (1929), and from the critical essays of T.S. Eliot. It opposed the prevailing interest of scholars, critics, and teachers of that era in the biographies of authors, the social context of literature, and literary history by insisting that the proper concern of literary criticism is not with the external circumstances or effects or historical position of a work, but with a detailed consideration of the work itself as an independent entity. The most simplistic definitions of New Criticism identify it as a critical movement that propagates the idea of “art for art's sake.” In focusing on the text itself ("close reading"), New Critics intentionally ignore the author, the reader, and the social context. New Criticism is distinctly formalist in character. The method of New Criticism is foremost a close reading, concentrating on such formal aspects as rhythm, meter, theme, imagery, metaphor, etc.
ReplyDeleteAccording to intentional fallacy, it's impossible to determine an author's reasons for writing a text without directly asking him or her. And even if we did determine the author's intentions, they don't matter, because the text itself carries its own value. So, even if we're reading a book by a renowned author like Shakespeare, we shouldn't let the author's reputation taint our evaluation of the text. Affective fallacy is a term from literary criticism used to refer to the supposed error of judging or evaluating a text on the basis of its emotional effects on a reader. The new critics believed that a text should not have to be understood relative to the responses of its readers; its merit (and meaning) must be inherent.
The New Critics privileged poetry over other forms of literary expression because they saw the poem as the purest exemplification of the literary values which they upheld. However, the techniques of close reading and structural analysis of texts have also been applied to fiction, drama, and other literary forms. The aesthetic qualities praised by the New Critics were largely inherited from the critical writings of Samuel Taylor Coleridge. Coleridge was the first to elaborate on a concept of the poem as a unified, organic whole which reconciled its internal conflicts and achieved some final balance or harmony.
Can I read your article to get an idea about new criticism and write in the exam ?
Deletewhy not?
DeleteIt's very exceeding that any literary work should check out by it's internal phases so that reader or critic can know the real aim of that work and it's structure of creation
ReplyDelete