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New Criticism |
Also found in: Wikipedia, Hutchinson | 0.07 sec. |
New Criticismor formalismPost–World War I school of Anglo-American literary theory that insisted on the intrinsic value of a work of art and focused attention on the individual work alone as an independent unit of meaning. New Critics were opposed to the practice of bringing historical or biographical data to bear on the interpretation of a work. The primary critical technique was analytic (or “close”) reading of the text, concentrating on its language, imagery, and emotional or intellectual tensions. Critics associated with the movement include I. A. Richards, William Empson, John Crowe Ransom, and R. P. Blackmur (1904–1965). How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
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Leavis, one of the key players in defining literary excellence as a moral characteristic, and morality as a literary characteristic, uttering magisterial pronouncements through his books and journal; in America, the New Critics became the dominant academic authority, while nonscholars enthusiastically joined the new Book of the Month Club, which, its founder asserted, sent its subscribers the best book each month, selected by expert judges. Before deconstruction, the New Critics drew fire for asserting the autonomy of the literary text--in particular the poem, whose words created meaning primarily through reference to one another, Poetry, they argued, must be interpreted without recourse to its author's intentions or its historical context. Of particular note is the chapter on "Literary Games," which attempts to explain in simple terms the viewpoints of New Critics, existentialists, deconstructionists, and postmodernists, something which most guides would not even attempt. |
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