New Criticism in Literature: Literary Theory | Criticism | Criticism in Urdu/Hindi| All Features

In this video, we'll be discussing the new criticism in literature: literary theory, criticism, criticism in Urdu/Hindi. We'll be covering all the features of this video, so be sure to Subscribe and check back for more!

If you're interested in literary theory, criticism, or any other forms of criticism, then be sure to Subscribe to this video and check back for more! In this video, we'll be discussing the new criticism in literature: literary theory, criticism, criticism in Urdu/Hindi. We'll be covering all the features of this video, so be sure to Subscribe and check back for more!

Self-contained, Self-referential aesthetic object
New Critical formalism
The New Criticism (1941)
John Crowe Ransom
Practical Criticism” and “The Meaning of Meaning”
I.A Richards
“Tradition and the Individual Talent” and “Hamlet and His Problems”
T.S. Eliot
Examines the relationships between a text's ideas and its form, between what a text says and the way it says it.
New Critics insist that the meaning of a text is intrinsic and should not be confused with the author's intentions nor the work's affective dimension (its impressionistic effects on the reader.

Wimstt and Beardsley held that “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.”

This is closely associated with the New Critical notion of the “autotelic text”, according to which the meaning of a work is contained solely within the work itself, and any attempt to understand the author’s intention violates the autonomy of the work.

TS Eliot-in “Tradition and the Individual Talent” (1919) had argued – that
“Honest criticism and sensitive appreciation, are directed not upon the poet but upon the poetry.”

What are the five major features of new criticism?
Formal elements such as rhyme, meter, setting, characterization, and plot were used to identify the theme of the text.
In addition to the theme, the New Critics also looked for paradox, ambiguity, irony, and tension to help establish the single best and most unified interpretation of the text.

DISTINCTIVE FEATURES OF NEW CRITICISM
Structure and meaning of text are connected and cannot be studied in isolation. It is inseparable.
2. Close reading of text: this technique was derived from I.A Richards’ Practical Criticism (1929), William Epson’s Seven Types of Ambiguity (1930), and T.S Eliot The Function of Criticism (1933).
3. Poetry is communication and language is the medium of communication. So to understand the meaning of a poem, new critics study the poetic language used.

CONCEPTS IN NEW CRITICISM
a) Objective Correlative
This term was coined by T.S Eliot in his Hamlet and His Problems 1920. Objective Correlative is used to evoke emotion in the audience. “The only way of expressing emotion in the form of art is by finding an objective Correlative…”
“a set of objects, a situation, a chain of events which shall be the formula of that particular emotion” that the poet feels and hopes to evoke in the reader
(“Hamlet,” 1919)

The Intentional Fallacy
The "Intentional Fallacy" is the mistake of attempting to understand the author's intentions when interpreting a literary work. Such an approach is fallacious because the meaning of a work should be contained solely within the work itself, and attempts to understand the author's intention violate the autonomy of the work.
b) Affective Fallacy
Affective fallacy is a term used to refer to the error of judging a text on the basis of its emotional effects on the reader. The misconception that arises from judging a poem by the emotional effect that it produces.

Close Reading
This is just the explication of a text. This term was pioneered by I.A Richards and William Empson

The New Critics therefore emphasized close reading as a way of discovering the tensions and paradoxes of a text in order to find their resolution into a coherent whole; this approach de-emphasizes contextual considerations and sometimes leads to the neglect of the parts of a text that trouble its coherence