[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-326805-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-326805-en":131},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","new-criticism-revision-notes","New Criticism - Revision Notes","","New Criticism revision notes covering key figures and core principles of formalist literary analysis. Matthew Arnold’s “disinterestedness” and Eliot’s impersonal poetry and objective correlative are contrasted with the movement’s American roots. The notes explain how New Critics privilege close reading of text structure, unity, irony, paradox, ambiguity, and tension, while rejecting authorial intent and reader response. They define sense, tone, feeling, intention, as well as intentional and affective fallacies with major works by leading critics.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/new-criticism-revision-notes/326805/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/new-criticism-revision-notes/326805.png","ImageObject",300,407,{"name":42,"@type":43},"Theodore","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-26","2026-09-21",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",12,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What is the main focus of New Criticism when analyzing a text?","Question",{"text":63,"@type":64},"New Criticism emphasizes close reading of the text itself, focusing on structure, unity, tone, imagery, and literary devices rather than external information.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How does New Criticism differ from Practical Criticism?",{"text":68,"@type":64},"Practical Criticism uses experimental, anonymous poems to test unbiased reader responses. New Criticism treats close reading as a formalist standard and considers reader response irrelevant, focusing only on the text.",{"name":70,"@type":61,"acceptedAnswer":71},"What are the intentional fallacy and affective fallacy?",{"text":72,"@type":64},"Intentional fallacy is interpreting a text based on the author’s intended meaning instead of the text itself. Affective fallacy is evaluating a text based on the emotional response it produces in the reader.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},326805,1790047071,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,115,120,123,127],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":89,"slug":90},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":96,"doc_module":4,"doc_module_name":25,"category_name":97,"show_sort_weight":98,"slug":99},5,"Comic",60,"comic",{"id":101,"doc_module":4,"doc_module_name":25,"category_name":102,"show_sort_weight":103,"slug":104},6,"Technology",50,"technology",{"id":106,"doc_module":4,"doc_module_name":25,"category_name":107,"show_sort_weight":108,"slug":109},7,"Healthcare",40,"healthcare",{"id":111,"doc_module":4,"doc_module_name":25,"category_name":112,"show_sort_weight":113,"slug":114},8,"Research & Report",30,"research-report",{"id":116,"doc_module":4,"doc_module_name":25,"category_name":117,"show_sort_weight":118,"slug":119},9,"Religion & Spirituality",20,"religion-spirituality",{"id":118,"doc_module":4,"doc_module_name":25,"category_name":121,"show_sort_weight":118,"slug":122},"World Cup","world-cup",{"id":124,"doc_module":4,"doc_module_name":25,"category_name":125,"show_sort_weight":124,"slug":126},10,"Lifestyle","lifestyle",{"id":128,"doc_module":4,"doc_module_name":25,"category_name":129,"show_sort_weight":96,"slug":130},19,"General","general",{"code":4,"msg":82,"data":132},{"doc_id":79,"user_id":133,"nickname":42,"user_avatar":134,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":124,"language":140,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":12,"update_tm":144,"read_time":145},7971461740886,"https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2","NEW CRITICISM  \nDAK SH ITA SINGH  \nMatthew Arnold (1822–1888)  \n• Advocated \"disinterestedness\" in criticism-evaluating texts without personal bias.  \n• In The Function of Criticism at the Present Time (1865), he insisted on detachment, close textual engagement, and a high evaluative standard.  \nT.S. Eliot (1888–1965)  \n• In Tradition and the Individual Talent (1919), argued that the poet’s individual feelings must be suppressed; poetry is impersonal.  \n• Introduced the concept of “objective correlative”(Hamlet and His Problems, 1920), the expression of emotion through structured imagery and situation.  \nDAK SH ITA SINGH  \nDAK SH ITA SINGH  \n| Aspect | Practical Criticism | New Criticism |\n| --- | --- | --- |\n| Origin | Britain (I.A. Richards) | USA (John Crowe Ransom, Cleanth Brooks, etc.) |\n| Purpose | A method to teach students how to read texts closely without external\u003Cbr>bias. | A formalist theory promoting close reading as a critical standard. |\n| Approach | Experimental-anonymous poems given to students to test their unbiased responses. | Systematic-emphasized structure, unity, and irony within the text. |\n| Attitude to Reader | Reader response was central to the\u003Cbr>experiment. | Reader’s response was irrelevant; focus solely on the\u003Cbr>text. |\n\nKey Points:  \n• Formalist Approach: Emphasizes close reading of the text itself-form, structure, imagery, symbolism, tone.  \n• Text as Autonomous  \n• Close Reading  \n• Rejection of Authorial Intent and Reader Response  \n• Unity and Organic Wholeness  \n• Focus on Language and Literary Devices: Stresses the importance of paradox, irony, ambiguity, and tension in producing layered and meaningful literature.  \nDAK SH ITA SINGH  \nKey Terms & Concepts in New Criticism  \nDAK SH ITA SINGH  \nSense, Tone, Feeling, and Intention  \nOriginator: I.A. Richards (Principles of Literary Criticism, 1924)  \n• Focuses on the internal structure and the impact on the reader.  \n• Richards emphasized that meaning is not just what the words say (sense) but also how they are said (tone), what they express (feeling), and what they aim to do (intention) .  \n• New Critics reject the biographical fallacy, instead of speculating about the author’s life or real intentions, they focus on what the text reveals through its own form.  \nDAK SH ITA SINGH  \nTension  \nOriginator: Allen Tate  \n• The interplay between abstract and concrete meanings or between literal and metaphorical levels.  \n• A poem’s value lies in its ability to hold multiple levels of meaning in balanced tension.  \nThe Heresy of Paraphrase  \nOriginator: Cleanth Brooks (The Well Wrought Urn, 1947)  \n• The idea that a poem’s meaning cannot be paraphrased without losing its essence.  \nDAK SH ITA SINGH  \nParadox  \nConcept by: Cleanth Brooks (in The Well-Wrought Urn, 1947)  \n• An apparent contradiction that reveals a deeper truth.  \n• Example: “I must be cruel to be kind”(Shakespeare) .  \nIrony  \nA discrepancy between what is said and what is meant, or between expectation and reality.  \nAmbiguity  \nConcept by: William Empson (in Seven Types of Ambiguity, 1930)  \n• The simultaneous presence of multiple meanings in a word, phrase, or text.  \nDAK SH ITA SINGH  \n| Concept | Definition | Introduced By |\n| --- | --- | --- |\n| Intentional Fallacy | The error of interpreting a text based on the author’s intended meaning rather than the text itself. | W.K. Wimsatt & M.C. Beardsley (1946) |\n| Affective Fallacy | The error of evaluating a text based on the emotional response it elicits in the reader. | W.K. Wimsatt & M.C. Beardsley (1949) |\n\nDAK SH ITA SINGH  \n| Critic | Major Work(s) |\n| --- | --- |\n| John Crowe Ransom | The New Criticism (1941) |\n| I.A . Richards | Principles of Literary Criticism (1924), Practical Criticism (1929) |\n| Cleanth Brooks | The Well Wrought Urn (1947) |\n| W. K. Wimsatt | The Verbal Icon (1954, with Monroe\u003Cbr>Beardsley) |\n| Allen Tate | Tension in Poetry (1938 essay) |\n| R. P. Blackmur | Language as Gesture (1952) |\n| T.S. Eliot | Tradi","cbCaidEpxzRhqnGK","https://ap.wps.com/l/cbCaidEpxzRhqnGK","pdf",350850,"English","# Overview of New Criticism\n## Matthew Arnold and T.S. Eliot\n## Practical Criticism vs New Criticism\n# Key Points and Core Principles\n## Formalist approach and autonomous text\n## Unity and organic wholeness\n# Key Terms & Concepts\n## Sense, tone, feeling, intention\n## Tension\n## The Heresy of Paraphrase\n## Paradox, irony, and ambiguity\n# Major Concepts and Fallacies\n## Intentional fallacy\n## Affective fallacy\n# Key Critics and Major Works","[{\"question\":\"What is the main focus of New Criticism when analyzing a text?\",\"answer\":\"New Criticism emphasizes close reading of the text itself, focusing on structure, unity, tone, imagery, and literary devices rather than external information.\"},{\"question\":\"How does New Criticism differ from Practical Criticism?\",\"answer\":\"Practical Criticism uses experimental, anonymous poems to test unbiased reader responses. New Criticism treats close reading as a formalist standard and considers reader response irrelevant, focusing only on the text.\"},{\"question\":\"What are the intentional fallacy and affective fallacy?\",\"answer\":\"Intentional fallacy is interpreting a text based on the author’s intended meaning instead of the text itself. Affective fallacy is evaluating a text based on the emotional response it produces in the reader.\"}]","New Criticism - Revision Notes | PDF",1789975400,15]