New Criticism

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What is New Criticism? Dominant approach to literary analysis in the mid-20th century (1920s-1960s). Emphasizes close reading of the text itself, independent of external factors. Focuses on the poem or text as a self-contained, autonomous aesthetic object. Aims to discover the "correct" interpretation of a text. Key Principles & Concepts 1. Close Reading Intensive analysis of the text's formal elements: Language, imagery, symbolism, meter, rhyme, alliteration, irony, paradox, ambiguity. How these elements contribute to the text's overall meaning and unity. The text's internal structure and coherence are paramount. 2. The Autonomy of the Text A literary work functions independently of its author, historical context, or reader's response. Meaning is inherent within the text, not imposed from outside. 3. Intentional Fallacy (W.K. Wimsatt & Monroe Beardsley) The author's stated or presumed intention is irrelevant to understanding the meaning of a literary work. The text should be judged on what it *is*, not what the author *intended* it to be. The meaning is in the words on the page, not in the author's mind. 4. Affective Fallacy (W.K. Wimsatt & Monroe Beardsley) Confusing the meaning of a poem with its emotional effect on the reader. A reader's emotional response is subjective and does not constitute a valid interpretation of the text's objective meaning. 5. Organic Unity A well-wrought literary work possesses a complex, interconnected structure where all parts contribute to the whole. Every element (word, image, sound) is essential and works together to create a unified meaning. 6. Paradox, Irony, Ambiguity Often seen as central to the text's complexity and richness. Paradox: A seemingly self-contradictory statement that contains a deeper truth. Irony: A contrast or incongruity between what is stated and what is really meant, or between expectation and reality. Ambiguity: The quality of being open to more than one interpretation; multiple meanings coexisting. These elements create tension and richness, contributing to the text's unified meaning. Prominent Figures I.A. Richards T.S. Eliot (influenced) John Crowe Ransom Allen Tate Cleanth Brooks W.K. Wimsatt Monroe Beardsley Robert Penn Warren Methodology Read the text carefully: Multiple readings to note nuances. Identify formal elements: Imagery, metaphors, symbols, rhythm, sound devices. Analyze how elements interact: How do they create tension, paradox, irony? Determine the central theme/meaning: How do all elements contribute to a unified, coherent interpretation? Avoid external information: No biography, history, author's intent, or reader's feelings. Critiques of New Criticism Exclusionary: Ignores historical, social, political, and biographical contexts. Elitist: Favors complex, formally perfect texts, often neglecting popular or overtly political literature. Over-emphasis on unity: May force interpretations to find unity where none exists or overlook legitimate fragmentation. Limited scope: Cannot account for the evolution of meaning over time or across cultures. "Text-fetishism": Treats the text as an isolated artifact, detached from human experience. Subjectivity disguised: While claiming objectivity, the selection and interpretation of formal elements can still be subjective. Legacy Revolutionized literary studies by emphasizing textual analysis. Introduced "close reading" as a fundamental skill for literary critics and students. Remains an foundational approach, even if its dogmatism has been largely rejected. Subsequent theories (e.g., Reader-Response, Deconstruction, Cultural Studies) developed partly in reaction to New Criticism's limitations.