Formalism, a.k.a., New Criticism

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Formalism, a.k.a., New Criticism

originated in 1920s and 1930s in America begins with the shape or structure of a work of literature Formalists treat a literary work as a self-contained, self-referential object interested in textual features such as genre; verse or prose; metrical or free verse; use of figurative language; use of literary devices; etc.

Formalist Beliefs about Literature literature is a special kind of language literature is primarily symbolic and metaphoric; cannot paraphrase literature irony, paradox, and ambiguity are the measuring sticks of great art criticism can be objective and the "true" meaning of a text can be known objectively—an attempt to be scientific

The Text not interpreted based on a reader's response to it (a.k.a. affective fallacy), author's stated or inferred intention (intentional fallacy), or parallels between the text and historical contexts (such as author's life—biographical fallacy—sociopolitical climate, etc.); these are subjective biases literary work is a finished product, set off from history, biography, and the reading process form and content cannot be separated; form, in effect, is meaning

method: Look at tensions, paradoxes, and ambiguities within the text; show how they're resolved and integrated problems: Every text builds on pretexts; text has no meaning unless someone reads it; also, identifying "great art" is subjective John Crowe Ransom, Allen Tate, Robert Penn Warren, Cleanth Brooks (Southern writers/critics based atVanderbilt U.)