New criticsm

#New criticsm#

1. NEW CRITICISM

2. New Criticism era ( 1940 – 1960) • It appeared as a reaction toward Biographical and Traditional Historical criticism, which was focused on extra-text materials, such as the biography of the author. Name given to a style of criticism advocated by a group of academics writing in the first half of the 20th century. Origin The New Criticism is a type of formalist literary criticism that reached its height during the 1940 s and 1950s and that received its name from John Crowe Ransom’s 1941 book The New Criticism.

3. We discuss new criticism into 2 ways New Criticism As a literary theory As a way to Reading text

4.  Cleanth Brooks  R.P. Blackmur  Robert Penn Warren  W.K. Wimsat

5.  IA Richard's Practical Criticism: A Study of Literary Judgement (1929).  Cleanth Brooks's The Well Wrought Urn (1947).  Michael Schmidt and Grevel Lindop‘ s British Poetry Since 1960 (1972).  Calvin Bendient‘ s Eight Contemporary Poets (1974).  P.R. King's Nine Contemporary Poets: A Critical Introduction (1979).  Christopher Ricks‘ s The Force of Poetry (1987

6. How new criticism see a Text Text Complete work of art It example to validate our interpretation source to analyze and Get true meaning

7. • Intentional fallacy, term used in 20thcentury literary criticism to describe the problem inherent in trying to judge a work of art by assuming the intent or purpose of the artist who created it. • Affective fallacy, according to the followers of New Criticism, the misconception that arises from judging a poem by the emotional effect that it produces in the reader. The concept of affective fallacy is a direct attack on impressionistic criticism, which argues that the reader’s response to a poem is the ultimate indication of its value.

8. ” Close reading “ • The only way we can know if a given author’s intention or a given reader’s interpretation which actually represent the true meaning is by carefully examine

9. • For NC, the complexity of a text is created by the multiple and often conflicting meaning in it. • These meaning are a product primarily of four kinds of Linguistic devices : paradox -ambiguity - irony- tension Ambiguit y • It occurs when a word, image, or event generates two or more different meaning. # e.g. : "Thanks for dinner. I’ve never seen potatoes cooked like that before." (Jonah Baldwin in the filmSleepless in Seattle , 1993) Paradox • It typically arise from false assumptions, which then lead to inconsistencies between observed and expected behavior. # e.g. : "Someday you will be old enough to start reading fairy tales again." (C.S. Lewis to his godchild, Lucy Barfield, to whom he dedicatedThe Lion, the Witch and the Wardrobe )

10. Irony • a figure of speech in which words are used in such a way that their intended meaning is different from the actual meaning of the words. # e.g. : Once in the winter the rector would come to dine , and her husband would beg her to go over the list and see that no devorcees were included, except those who had showed signs of penitence by being remarried to very wealthy ( Edirth Wharton’s House of Mirth (1950) Tension a state of mental or emotional strain or suspense or when there is suspense in the story

11. How can New Criticism help us understand the text ? • New Criticism is a powerful tool for those of us that have problems understanding a work of literature. • NC formulated a method of reading, a simple formula that will help us unlock the meaning of a text How do we discover or unlock that meaning ? By following a simple formula • Who is speaking in the text ? ( not the author, not the poet, whoever/whatever created the text but it is created by the text itself.) • Who is being spoken to? or • Who is the addressee? or • Who is the implied reader of the text? • Where is the setting ? When it is ? • What is the central metaphors of the text ?

12. Those are called Formal Elements of a text Image, symbols, metaphors, rhyme, meter, point of view, setting, characterization and plot

13. CONCLUSION Sometimes New Critics did believe that the text warranted a discussion of its psychological, sociological, or philosophical elements because those elements were obviously integral to the work’s characterization or plot. • New Critics also called their approach objective criticism because their focus on each text’s own formal element ensured, they claimed, that each text —each object being interpreted — would itself dictate how it would be interpreted.