New Criticism An approach to literature made popular between the 1940s and the 1960s that evolved out of formalist criticism. New Critics suggest that detailed analysis of the language of a literary text can uncover important layers of meaning in that work. New Criticism consciously downplays the historical influences, authorial intentions, and social contexts that surround texts in order to focus on explication—extremely close textual analysis [a.k.a. "close reading"]. Critics such as John Crowe Ransom, I. A. Richards, and Robert Penn Warren are commonly associated with New Criticism. See also formalist criticism.
a literary reading theory that looks at the parts of a piece of writing (usually a poem) to see how they all fit marvelously together to create a beautiful, organic whole with cohesive symbolic moves
method of literary evaluation and interpretation practiced chiefly in the mid-20th century that emphasizes close examination of a text with minimum regard for the biographical or historical circumstances in which it was produced.
an approach to the critical study of literature that concentrates on textual explication and rejects historical and biographical study as irrelevant to an understanding of the total formal organization of a work.
New Criticism is an approach to literature which was
developed by a group of American critics, most of whom taught at southern
universities during the years following the first World War. The New Critics
wanted to avoid impressionistic criticism
New Criticism is distinctly formalist in character
The aesthetic qualities praised by the New Critics were
largely inherited from the critical writings of Samuel Taylor Coleridge.
In The Well-Wrought Urn (1947), Cleanth Brooks
integrates these considerations into the New Critical approach.
Although the New Critics do not assert that the meaning of a poem is inconsequential, they reject approaches which view the poem as an attempt at representing the "real world." They justify the avoidance of discussion of a poem's content through the doctrine of the "Heresy of Paraphrase," which is also described in The Well-Wrought Urn. Brooks asserts that the meaning of a poem is complex and precise, and that any attempt to paraphrase it inevitably distorts or reduces it. Thus, any attempt to say what a poem means is heretical, because it is an insult to the integrity of the complex structure of meaning within the work.
In The Verbal Icon (1954), William Wimsatt and
Monroe Beardsley describe two other fallacies which are encountered in the study
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. [See Biographical Fallacy]
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 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. 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.
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.