New Criticism

1. New Criticism Héctor M. Roldán Ramos ENGG 630 Contemporary Literary Theory Prof. Evelyn Lugo Morales

2. Objectives • To explain the definition of New Criticism. • To explain the definition of the word fallacy and the different types of fallacy in New criticism. • To explain the approach of New Criticism in poetry.

3. What is New Criticism? noun (often initial capital letters ) 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.

4. Also…    A 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.

5. New Criticism The New Criticism. New Critics treat a work of literature as if it were a self-contained, self-referential object. Rather than basing their interpretations of a text on the reader’s response, the author’s stated intentions, or parallels between the text and historical contexts (such as author’s life), New Critics perform a close reading, concentrating on the relationships within the text that give it its own distinctive character or form..

6. New Critics emphasize that the structure of a work should not be divorced from meaning, viewing the two as constituting a quasi-organic unity. Special attention is paid to repetition, particularly of images or symbols, but also of sound effects and rhythms in poetry. New Critics especially appreciate the use of literary devices, such as irony, to achieve a balance or reconciliation between dissimilar, even conflicting, elements in a text.

7. The New Criticism has sometimes been called an "objective" approach to literature. New Critics are more likely than certain other critics to believe and say that the meaning of a text can be known objectively. For instance, reader-response critics see meaning as a function either of each reader’s experience or of the norms that govern a particular interpretive community, and deconstructors argue that texts mean opposite things at the same time.

8. The foundations of the New Criticism were laid in books and essays written during the 1920s and 1930s by I. A. Richards (Practical Criticism [1929]), William Empson (Seven Types of Ambiguity [1930]), and T. S. Eliot ("The Function of Criticism" [1933]).

9. These critics tend to view the formalist tendency to isolate literature from biography and history as symptomatic of American fatigue with wider involvements. Whatever the source of the New Criticism’s popularity (or the reason for its eventual decline), its practitioners and the textbooks they wrote were so influential in American academia that the approach became standard in college and even high school curricula through the 1960s and well into the 1970s.

10. What is a fallacy? A fallacy is an argument which may convince others but is not logically sound. Note that the truth of the conclusions of an argument does not determine whether the argument is a fallacy - it is the argument which is incorrect.

11. Intentional Fallacy is… equating the meaning of a poem with the author's intentions. It also addresses the assumption that the meaning intended by the author of a literary work is of primary importance. By characterizing this assumption as a "fallacy" a critic suggests that the author's intention is not important. The term is an important principle of New Criticism and was first used by W.K. Wimsatt and Monroe Beardsley in their essay "The Intentional Fallacy" (1946 rev. 1954): "the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art." The phrase "intentional fallacy" is somewhat ambiguous, but it means "a fallacy about intent and not "a fallacy committed on purpose."

12. IntentionalFallacy Wimsatt and Beardsley divide theevidenceused in makinginterpretations of literarytexts (althoughtheiranalysis can beappliedequallywelltoanytype of art) intothreecategories: (1) Internalevidence.Thisevidenceispresent as thefacts of a givenwork. Theapparentcontent of a workistheinternalevidence, includinganyhistoricalknowledge and pastexpertiseorexperiencewiththekind of art beinginterpreted: itsforms and traditions. Theform of epicpoetry, the meter, quotations etc. are internaltothework. Thisinformationisinternaltothetype (orgenre) of art thatisbeingexamined. Obviously, thisalsoincludesthosethingsphysicallypresenttotheworkitself.

13. IntentionalFallacy (2) External evidence. What is not actually contained in the work itself is external. Statements made privately or published in journals about the work, or in conversations, e-mail, etc. External evidence is concerned with claims about why the artist made the work: reasons external to the fact of the work in itself. Evidence of this type is directly concerned with what the artist may have intended to do even or especially when it is not apparent from the work itself.

14. (3) Contextual evidence. The third kind of evidence concerns any meanings derived from the specific work's relationship to other art made by this particular artist—as is the way it is exhibited, where, when and by whom. It can be biographical, but does not necessarily mean it is a matter of intentional fallacy. The character of a work may be inflected based upon the particulars of who does the work without necessarily characterizing it as an intentional fallacy.

15. Affective Fallacy is… confusing the meaning of a text with how it makes the reader feel. A reader's emotional response to a text generally does not produce a reliable interpretation. The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value.

16. Wimsatt and Beardsley on Affective Fallacy "TheAffectiveFallacyis a confusionbetweenthepoem and itsresults (whatitis and whatitdoes), a special case of epistemologicalskepticism [ . . . which . . .] beginsbytryingto derive thestandard of criticismfromthepsychologicaleffects of thepoem and ends in impressionism and relativism [withtheresultthat] thepoemitself, as anobject of specificallycriticaljudgment, tendstodisappear." "Thereport of somereaders . . . that a poemorstory induces in them vivid images, intense feelings, orheightenedconsciousness, isneitheranythingwhich can berefutednoranythingwhichitispossiblefortheobjectivecritictotakeintoaccount." "Thecriticisnot a contributortostatisticalcountablereportsaboutthepoem, but a teacherorexplicator of meanings. Hisreaders, ifthey are alert, willnotbecontenttotakewhat he says as testimony, butwillscrutinizeit as teaching

17. The report of some readers says that a poem or story induces in them vivid images, intense feelings, or heightened consciousness, is neither anything which can be refuted nor anything which it is possible for the objective critic to take into account. The critic is not a contributor to statistical countable reports about the poem, but a teacher or explicator of meanings. His readers, if they are alert, will not be content to take what he says as testimony, but will scrutinize it as teaching.

18. What is a Heresy of Paraphrase? Heresy of Paraphrase - assumingthataninterpretation of a literaryworkcouldconsist of a detailedsummaryorparaphrase. Take a look at the following example, a poem by William Carlos Williams:

19. Example of… This Is Just to SayI have eatenthe plumsthat were inthe iceboxand whichyou were probablysaving for breakfastForgive methey were deliciousso sweetand so cold

20. Close reading is… Close reading (from Bressler - see General Resources below) - "a close and detailed analysis of the text itself to arrive at an interpretation without referring to historical, authorial, or cultural concerns" (263). It also means that . Close reading is the most important skill you need for any form of literary studies. It means paying especially close attention to what is printed on the page. It is a much more subtle and complex process than the term might suggest. 2. Close reading means not only reading and understanding the meanings of the individual printed words; it also involves making yourself sensitive to all the nuances and connotations of language as it is used by skilled writers. 3. This can mean anything from a work's particular vocabulary, sentence construction, and imagery, to the themes that are being dealt with, the way in which the story is being told, and the view of the world that it offers. It involves almost everything from the smallest linguistic items to the largest issues of literary understanding and judgement

21. It also means.. Close reading is the most important skill you need for any form of literary studies. It means paying especially close attention to what is printed on the page. It is a much more subtle and complex process than the term might suggest. Close reading means not only reading and understanding the meanings of the individual printed words; it also involves making yourself sensitive to all the nuances and connotations of language as it is used by skilled writers. This can mean anything from a work's particular vocabulary, sentence construction, and imagery, to the themes that are being dealt with, the way in which the story is being told, and the view of the world that it offers. It involves almost everything from the smallest linguistic items to the largest issues of literary understanding and judgement

22. New Criticism of Poetry 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.

23. To the New Critics, poetry was a special kind of discourse, a means of communicating feeling and thought that could not be expressed in any other kind of language. It differed from the language of science or philosophy, but it conveyed equally valid meanings. Such critics set out to define and formalize the qualities of poetic thought and language, utilizing the technique of close reading with special emphasis on the connotative and associative values of words and on the multiple functions of figurative language, symbol, metaphor, and image in the work.

24. References Siegel, K. (n.d.) Introduction to Modern Literary Theory. Retrieved on January 27, 2009 from http://www.kristisiegel.com/theory.htm Wimsatt, William K. and Monroe C. Beardsley. "The Intentional Fallacy." Sewanee Review, vol. 54 (1946): 468-488. Revised and republished in The Verbal Icon: Studies in the Meaning of Poetry, U of Kentucky P, 1954: 3-18.

25. References Wimsatt, W.K. with Monroe Beardsley (1954). "The Verbal Icon: Studies in the Meaning of Poetry". Lexington: University of Kentucky Press. http://www.mantex.co.uk/samples/closeread.htm