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Taken together, these fallacies might compel one to refer to a text and
its functioning as an autonomous entity, intimate with but independent of
both author and reader. This reflects the earlier attitude of Russian
formalism and its attempt to describe poetry in mechanistic and then organic
terms. (Both schools of thought might be said to anticipate the 21st century
interest in electronic artificial intelligence, and perhaps lead researchers in
that field to underestimate the difficulty of that undertaking.)
In the 1930s, the work of Eliot, Richards, and Leavis found a warm
welcome on the other side of the Atlantic among a group of poets, including
John Crowe Ransom, Allen Tate, Robert Penn Warren, and Cleanth Brooks,
who in the mid-1930s initiated a professionalization of American literary
studies comparable to the developments in England. These New Critics, as
they came to be called (the label derives from the title of Ransom’s 1941
book The New Criticism), shared the misgivings of their English colleagues
about the contemporary world. They, too, saw around them a world driven
by a desire for profit in which the so-called triumphs of modern science, in
combination with capitalistic greed, threatened to destroy tradition and
everything that was not immediately useful – including poetry. Like their
English mentors, they turned to the past, in their case a past of the Southern
states, in which organic unity and social harmony had not yet been
destroyed by the industrialization and commercialization of the
contemporary world. That such a past had never existed, or only for a happy
few, was as little to the point as the fact that Eliot’s unified sensibility had
never existed. On both sides of the Atlantic writers and critics created a
mythical past to counterbalance the utilitarian, mercenary present. The New
Critics, then, saw poetry as a means of resisting commodification and
superficiality. Because of its internal organization – its formal structure – a
poem created harmony out of opposites and tension and thereby presented
a vital alternative. In creating coherent wholes out of the full variety and
contradictory complexity of life, poetry halted and transcended the chaotic
flux of actual experience. As John Crowe Ransom (1888–1974) put it in a
1937 essay called ‘Criticism, Inc.’: ‘The poet perpetuates in his poem an
order of existence which in actual life is constantly crumbling beneath his
touch. His poem celebrates the object which is real, individual, and
qualitatively infinite’ (Ransom [1937] 1972: 238). In so doing, one of the
poet’s main strategies was the use of paradox with, as Cleanth Brooks
(1906–1994) said, ‘its twin concomitants of irony and wonder’. By means of
paradoxes ‘the creative imagination’ achieves ‘union’. That ‘fusion is not
logical,’ Brooks continues, it apparently violates science and common sense;
it welds together the discordant and the contradictory. Coleridge has of
course given us the classic description of its nature and power. It ‘reveals
itself in the balance or reconcilement of opposite or discordant qualities: of
sameness, with difference; of the general, with the concrete; the idea, with
the image; the individual, with the representative; the sense of novelty and
freshness, with old and familiar objects; a more than usual state of emotion,
with more than usual order’.
When in the 1920’s the New Criticism first emerged in public it was
limited to a small group of professors and students at Vanderbilt University
(Nashville, Tennessee). In only two decades its principles, values and
proceedings were to become so pervasive and so much embedded in the
study of literature, that they were almost equated with the very nature and
essence of the critical art.
The term New Criticism became established as the name of the School
after John Crowe Ransom, one of its founders, published a collection of
essays bearing that title, in 1941. In one of them, “Wanted: An Ontological
Critic”, he announced that it was time to identify a powerful intellectual
movement which deserved to be called “a new criticism”. The intention
implicit in this name is obviously polemical: indeed the New Critics felt it was
time to do away with the traditional approaches, which laid emphasis only on
the historical, social, biographical or psychological contexts, on the moral or
philosophical implications, or still on the textual-linguistic specific factors. In
other words the traditional critics took into account extra-textual
considerations and/or separated the form of the art object from its meaning,
refusing to regard the work as an integrated art-form. Some of these
concerns are similar to those of the Russian formalists, but between the two
critical schools there are also important differences, which will be discussed
later in this chapter.
We can now remark that from the outset of the New Critics’ activity,
their formalism never got an extreme, pure and hard nature, but was always
infused with broader humanistic concerns and never severed all connections
with what is outside the form of the literary text.
BEJENARU OTILIA
ENGLEZA-FRANCEZA, Gr. 2,
An 1
Bibliography
http://www.firstprinciplesjournal.com/articles.aspx?article=672&loc=r
http://www.hypotyposeis.org/weblog/2003/12/intentional-fallacy.html
http://www.associatedcontent.com/article/1015490/the_intentional_fallacy_of_wk_wi
msatt.html
Cf. William E. Cain, The Crisis in Criticism: Theory, Literature, and Reform in
English Studies (Baltimore: The Johns Hopkins University Press, 1984)
Cleanth Brooks, The Well Wrought Urn: Studies in the Structure of Poetry (New
York: Harcourt, Brace, 1947)