新批评主义.docxVIP

 PAGE 5 Background and History Definition Representatives and Key Ideas Close-Reading and Key Terms Contribution and Limitation 1. The emergence of New Criticism mbolist poets experimented with poetic language. Expressionists proposed externalization and art dichotomy (二分法). The aestheticism insisted on the autonomous existence of art. The European literary movement found their response in the US. 2. Three periods of the New Criticism There are different ways to periodize the New Criticism. Most critics would divide it into three periods: the initiative (1910-1930) the formative (1930-1945) the dominant (1945-1957) New Criticism was a movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object. T. S. Eliot (1888-1965) I. A. Richards (1893-1979) Allen Tate (1899-1979) John Crowe Ransom (1888-1974) Wimsatt (1907-1975) Beardsley(1915-) Cleanth Brooks (1906-1994) He was a playwright, literary critic, and arguably the most important English-language poet of the 20th century. He was also a forerunner of the Anglo-American New Criticism. Tradition and the Individual Talent “The poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career.” (tradition) “ The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”(depersonalization) Ivor Armstrong Richards was an influential English literary critic and rhetorician. Richards is often labeled as the father of the New Criticism, largely because of the influence of his first two books of critical theory, The Principles of Literary Criticism and of Practical Criticism. Richards defines poetic language in terms of non-referential pseudo-statement(非指向性的伪陈述) as