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The nature and function of criticism
Introduction to humanistic theory
The nature and function of criticism
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Introduction: The records of literary criticism and theory are almost as old as literature itself. As known, literary criticism is a sort of mental exercise of evaluating, classifying, analyzing, interpreting, judging, and valuing the literary art. This indicates that criticism also includes creative skill to comprehend the literary artist’s work first, and then put forward one’s valid view. In this sense, it is really ‘meta-literature’. The world’s successful critics and theorists are only the renowned literary figures. As Ben Jonson says that “ To judge of poet is only the faculty of poets”. This means that only a writer can understand the mysteries and mental regions of his/her fellow writers and can respond them aptly and effectively.
Ancient Classical Criticism: The earliest proofs of criticism are found in Greek literature. In the fifth and fourth centuries B.C., Athens was the lap of literary enterprises. So the critical activity was first undertaken by Plato and his eternal disciple Aristotle. This preliminary era of criticism is termed as Hellenic, means Greek, period of criticism. Plato’s Republic is looked upon as the first critical book in which he expresses the ideas regarding the literary and poetic process. It is then Aristotle who in real sense commenced the critical journey still potent and pervasive. His Poetics has proved an immortal foundation stone of criticism for the proceeding centuries, and it has caloured thoughts and talents of almost all the critics and theorists irrespective of language differences. The study of the book is inevitable in every literature and for every literary student and scholar. Aristotle develops for the first time the ideas of mimesis and catharsis which are even today the issues ...
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... cultural consciousness of the writer also. The approach is a compendium of diverse procedures, and its employment in critical enquiry is bound to enlighten the readership, and thereby enrich the process of defining, classifying, and evaluating works of literature. Therefore, there is a scope for spatial and temporal analysis of literary text. The past is revived for the utility of the present.
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(3) Kettle, Arnold, ed. Shakespeare in a Changing World. London: 1964. Print.
(4) Rice, Philip and Patrice Waught, ed. Modern Literary Theory: A Reader. 2nd edition.
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Guerin, Wilfred L., et al., eds. A Handbook of Critical Approaches to Literature. Toronto: Oxford UP, 1992.
It is interesting to see how the different Case Studies in Contemporary Criticism are altered by the text they are describing. For example, I have one volume on Portrait of an Artist as a Young Man, and another for Great Expectations, both of which demonstrate the extent to which the object of critique affects the critique itself, such that “deconstruction criticism” in an intellectual vacuum is something different than when a scholar tries to apply it to a particular text, altering both the text as well as the principles of deconstruction. The Awakening gender criticism takes on a different feel from Great Expectation gender criticism even though they are informed by the same principles, because gender in the early Victorian Dickens is different than in the turn of the century American Chopin. In this way the criticism co-constructs with the primary document something different than both the criticism and the original text. Such a syntheses have produced exciting and innovative ideas, refreshing and reviving works from the tombs of academia. Unfor...
Taylor, A.E. "The Thought of Socrates ." Classical and Medieval Literature Criticism 1998: 138-183. Web.
New Criticism attracts many readers to its methodologies by enticing them with clearly laid out steps to follow in order to criticize any work of literature. It dismisses the use of all outside sources, asserting that the only way to truly analyze a poem efficiently is to focus purely on the words in the poem. For this interpretation I followed all the steps necessary in order to properly analyze the poem. I came to a consensus on both the tension, and the resolving of it.
Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, 1999. 125-156.
Guerin, Wilfred L., et.al. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, 1992.
Consequently, one can broach a series of querries about literature and the nature of literary theories : what is literature ? What is the novel and what is its function ? And finally, to what extent does criticism affect the quality of literature ? This welter of questions is nothing but the tip of the ice berg.
Raman Selden, Peter Widdowson, and Peter Brooker. A Reader's Guide to Contemporary Literary Theory. 4th ed. London: Prentice Hall and Harvester Wheatrsheaf. 1997.
W. K. Wimsatt and Monroe C. Beardsley are two of the most famous New Critical theorists. Their essay, “The Intentional Fallacy” impacted and further developed the study of New Criticism. It even has a profound impact on the way scholars practice criticism now. “The Intentional Fallacy” exposes the various “fallacious” or mistaken approaches to the interpretation of literature. It is false to believe that literature follows through with what the assumed purpose is from the author himself. Wimsatt and Beardsley argue that there are a whole variety of meanings of which the author might even be unaware of or never intended to be. If the audience can produce textual evidence, that meaning is valid. Meaning is found within the text itself and not within the intentions of the author. If the reader focuses on the intentions of the author, that is a fallacy or a mistaken approach to the
Postmodern literary criticism asserts that art, author, and audience can only be approached through a series of mediating contexts. "Novels, poems, and plays are neither timeless nor transcendent" (Jehlen 264). Even questions of canon must be considered within a such contexts. "Literature is not only a question of what we read but of who reads and who writes, and in what social circumstances...The canon itself is an historical event; it belongs to the history of the school" (Guillory 238,44).
Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: U of Michigan P, 1967. Dorsch, T. R., trans. and ed. Aristotle Horace Longinus: Classical Literary Criticism. New York: Penguin, 1965. Ley, Graham. The Ancient Greek Theater. Chicago: U of Chicago P, 1991. Reinhold, Meyer. Classical Drama, Greek and Roman. New York: Barrons, 1959.
During the course of this class, I have had the opportunity to read literature from authors who come from different backgrounds and places in the world. Some of the stories and poetry we read were straight forward while others were confusing and sometimes required a second look. But one thing is clear, it changed the way I think about literature in a few ways that I wasn’t expecting. Three works in particular stand out in my mind. “ I Wont Let You Go” by Rabindranath Tagore, “To New York” by Leopold Senghor, and Pedro Peramo by Juan Rulfo all had an impact on my thinking for similar yet different reasons. They all incorporate their cultural backgrounds into their work through the setting of their pieces. They also compose their pieces in a way that makes you want to research their history to find the deeper meaning. Finally, a couple of the authors write about things they are emotionally connected to. Some of the examples we will look at, really opened my eyes to going beyond a superficial understanding of literature.
During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed the ‘Intentional fallacy’. However, Wimsatt and Beardsley argue that the intention, i.e., the design or plan in the author’s mind, of the author is neither available nor desirable for judging the success of a work of literary art. It is not available because the author will most certainly not be beside the reader when he/she reads the text, and not desirable because intention as mentioned already is nothing but the author’s attitude towards his work, the way he felt while writing the text and what made him write that particular piece of writing and these factors might distract the reader from deciphering the meaning from the text. This method of reading a text without any biographical or historical background of either the poem or the poet practiced by the New Critics was known as ‘Closed Reading’. This stemmed from their belief in the autonomy of the text.
Historical Criticism is criticism that “considers how military, social, cultural, economic, scientific, intellectual, literary, and every other kind of history helps us to understand the author and the work” (Lynn 142). Simply stated, unlike the previously discussed criticisms, Historical Criticism connects a work to certain times or places, revealing its historical influences. Therefore, the reader is required to perform research in order to learn more about the author’s life, the author’s time period and culture, and the way of reasoning during that time. Accordingly, with a critical eye, the reader should relate the information back to the work which will provide the reader with a richer understanding of the reading as well as with author’s message to the reader (Lynn 29-31). Beyond “close reading”, the reader must research what establishes the foundation of the work. Although, below the foundation of a work there lies an even richer understanding of the
Person, James E., Jr. “Literature Criticism from 1400 to 1800.” http://go.galegroup.com. N.p., 1988. Web. 9 Dec. 2010. .