New Historicism , a form of literary theory which aims to understand intellectual history through literature and literature through its cultural context, follows the 1950s field of history of ideas and refers to itself as a form of cultural poetics . It first developed in the 1980s, primarily through the work of the critic Stephen Greenblatt , and gained widespread influence in the 1990s. Greenblatt coined the term "new historicism" when, as he wrote, he "collected a bunch of essays and then, out of a kind of desperation to get the introduction done, he wrote that the essays represented something called a 'new historicism'".
21-471: Harold Aram Veeser , introducing an anthology of essays, The New Historicism (1989), noted some key assumptions that continually reappear in new historicism: "Sub-literary" texts and uninspired non-literary texts all came to be read as documents of historical discourse, side-by-side with the "great works of literature". A typical focus of new historicist critics, led by Stephen Orgel , has been on understanding Shakespeare less as an autonomous great author in
42-443: A number of influential collections of literary criticism, in addition to popular magazines and academic journals, including The Nation Magazine, The Journal of Armenian Studies , Ararat , and Armenian Forum . The Rebirth of American Literary Theory and Criticism: Scholars Discuss Intellectual Origins and Turning Points . Anthem, 2020. John Livingston Lowes John Livingston Lowes (December 20, 1867 – August 15, 1945)
63-478: A postmodern approach to history. In this shift of focus, a comparison can be made with the best discussions of works of decorative arts . Unlike fine arts , which had been discussed in purely formal terms, comparable to the literary New Criticism, under the influences of Bernard Berenson and Ernst Gombrich , nuanced discussion of the arts of design since the 1970s have been set within social and intellectual contexts, taking account of fluctuations in luxury trades,
84-463: A response to an earlier historicism, practiced by early 20th century critics such as John Livingston Lowes , which sought to de-mythologize the creative process by reexamining the lives and times of canonical writers. But new historicism differs from both of these trends in its emphasis on ideology : the political disposition, unknown to the author that governs their work. There is a popularly held recognition that Foucault's ideas have passed through
105-647: Is The Road to Xanadu: A Study in the Ways of the Imagination (Houghton Mifflin, 1927), which examines the sources of Coleridge's The Rime of the Ancient Mariner and Kubla Khan . Using Coleridge's notebook and other papers at the Bristol Library, Lowes put together a list of books that the poet read before and during the time he composed his poems. The trick was to connect images and ideas in
126-488: Is an American professor of English at City College of New York , best known for his founding role as a theorist of new historicism , in addition to his contributions to the historiography of postcolonial theory . He holds a BA, MA, and PhD in English and Comparative Literature from Columbia University , where he studied under the supervision of postcolonial theorist Edward Said . Since 1997 he has been employed at
147-565: Is indebted to Marxism . But whereas Marxism (at least in its more orthodox forms) tends to see literature as part of a ' superstructure ' in which the economic 'base' (i.e. material relations of production ) manifests itself, new historicist thinkers tend to take a more nuanced view of power , seeing it not exclusively as class -related but extending throughout society. This view derives primarily from Michel Foucault . In its tendency to see society as consisting of texts relating to other texts, with no 'fixed' literary value above and beyond
168-510: The American conservative think tank Middle East Forum , other reviewers have been more positive, finding it to be a "corrective to some of the more fawning tributes that have appeared in recent years," drawing comparisons to Robert Irwin 's more openly critical analysis of Said's work, Dangerous Knowledge: Orientalism and Its Discontents . Prior to his work on Said, Veeser was primarily known for his literary and art criticism, collected in
189-463: The City College of New York where he teaches courses on postcolonialism , biography and autobiography, 17th century British poetry , modern and contemporary British literature . In 2010, Veeser published a biography of Said, which combines " never-before-published interviews, debate transcripts, and photographs" with short personal anecdotes. Derided as "hagiography" in a review published by
210-540: The Foucauldian notion of the épistémè amount to very little more than the same practice under a new and improved label (Myers 1989). Carl Rapp argues that "[the new historicists] often appear to be saying, 'We are the only ones who are willing to admit that all knowledge is contaminated, including even our own'". Camille Paglia likewise cites "the New Historicism coming out of Berkeley" as an "issue where
231-549: The PC academy thinks it's going to reform the old bad path, I have been there before they have been, and I'm there to punish and expose and to say what they are doing...a piece of crap." Elsewhere, Paglia has suggested that new historicism is "a refuge for English majors without critical talent or broad learning in history or political science. ... To practice it, you must apparently lack all historical sense." Sarah Maza argues that "[Catherine] Gallagher and Greenblatt seem oblivious of
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#1732776004456252-523: The availability of design prototypes to local craftsmen, the cultural horizons of the patron, and economic considerations—"the limits of the possible" in economic historian Fernand Braudel 's famous phrase. An outstanding pioneer example of such a contextualized study was Peter Thornton 's monograph Seventeenth-Century Interior Decoration in England, France and Holland (1978). In its historicism and in its political interpretations, new historicism
273-401: The connection between texts and their historical contexts (Murfin & Supriya 1998). New historicism also has something in common with the historical criticism of Hippolyte Taine , who argued that a literary work is less the product of its author's imaginations than the social circumstances of its creation, the three main aspects of which Taine called race, milieu, and moment . It is also
294-409: The distinction between "high" and "low" culture and often focus predominantly on the productions of "popular culture" (Newton 1988). New historicists analyse text with an eye to history. With this in mind, new historicism is not "new". Many of the critiques that existed between the 1920s and the 1950s also focused on literature's historical content. These critics based their assumptions of literature on
315-483: The longer range of disciplinary development in history; they reject grand narratives as extensions of nineteenth- and twentieth-century nationalist, socialist or whiggish programs, obfuscating the fact that such mid-twentieth century innovations as histoire totale and quantified social history, large in scale as they were, originated from a desire to make history more democratic and more inclusive." Harold Aram Veeser Harold Aram Veeser (born November 3, 1950)
336-501: The modern sense than as a means of reconstructing the cultural milieu of Renaissance theatre —a collaborative and largely anonymous free-for-all—and the complex social politics of the time. In this sense, Shakespeare's plays are seen as inseparable from the context in which he wrote (see contextualism , thick description ). Influential historians behind the eruption of the new historicism are Lynn Hunt and Michel Foucault , as they both taught at UC-Berkeley during its rise as
357-407: The new historicist formation in history as a succession of épistémes or structures of thought that shape everyone and everything within a culture (Myers 1989). It is indeed evident that the categories of history used by new historicists have been standardized academically. Although the movement is publicly disapproving of the periodization of academic history, the uses to which new historicists put
378-507: The poems to images and ideas in Coleridge's reading. Though later critics have disputed both Lowes' findings and method, The Road to Xanadu , according to English author Toby Litt , is "a book of a lifetime": "Its argument, that Coleridge had one of the most extraordinary minds the world has ever seen, is there on every page"; it "is one of the books which helped me understand what writing is." Lowes' book on Chaucer (1934), building on
399-519: The way specific cultures read them in specific situations, new historicism is a form of postmodernism applied to interpretive history. New historicism shares many of the same theories as with what is often called cultural materialism , but cultural materialist critics are even more likely to put emphasis on the present implications of their study and to position themselves in disagreement to current power structures, working to give power to traditionally disadvantaged groups. Cultural critics also downplay
420-866: Was an American scholar and critic of English literature, specializing in Samuel Taylor Coleridge and Geoffrey Chaucer. John Livingston Lowes was born in Decatur, Indiana on December 20, 1867. He earned a B.A. from Washington and Jefferson College in 1888 and did postgraduate work in Germany and at Harvard University . He taught mathematics at Washington and Jefferson College until 1891 when he received his M.A. From 1909 to 1918 he worked as an English professor at Washington University in St. Louis , where he also served as dean of arts and sciences. From 1918 to 1939 he taught English at Harvard . In 1919 he
441-891: Was the Lowell Institute lecturer and the author of Convention and Revolt in Poetry . His grandfather was David Elliott , who had served as President of Washington College . Lowes was elected to the American Academy of Arts and Sciences in 1921 and the American Philosophical Society in 1934. He was the first Eastman Professor at the University of Oxford in 1930-31, attached to Balliol College . Lowes died in Boston, Massachusetts on August 15, 1945, aged 77. Lowes' most famous work
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