Mock 6 – New Criticism, Formalism & Modernist Criticism (Part 2)

New Criticism's procedure is explication or close reading of the autonomous text. It rejects historical and biographical approaches and the 'affective fallacy', and it centres on the single poem rather than genre.

Russell (1945); Eliot (1920); Wimsatt's The Verbal Icon (1954), which includes 'The Intentional Fallacy' and 'The Affective Fallacy' with Beardsley; Brooks (1947).

Ransom's 'Criticism, Inc.' (1937), Empson's Seven Types (1930) and Brooks and Warren's textbook Understanding Poetry (1938) are correct. The New Apologists for Poetry (1956) is Murray Krieger's, and In Search of the New Criticism is by Robert Boyers, not Blackmur.

Keats's letter to his brothers (December 1817). 'Dissociation of sensibility' is from 'The Metaphysical Poets' (1921); 'Hamlet and His Problems' (1919) gives the 'objective correlative'.

The New Critics built on Eliot's impersonality and Richards's emotive/referential distinction. They rejected biography (the intentional fallacy) and history.

Wimsatt and Beardsley, 'The Intentional Fallacy' (1946).

Eliot's 'Andrew Marvell' (1921) praises 'a tough reasonableness beneath the slight lyric grace'. 'Telescoping of images' is his phrase for metaphysical wit in 'The Metaphysical Poets'.

Note: The raw source key gave option 2; corrected per Eliot's essay.

Keats's 'egotistical sublime' (1818) → Eliot's 'dissociation of sensibility' (1921) → Artaud's 'theatre of cruelty' (1932–38) → Booth's 'unreliable narrator' (1961).

Science and Poetry (1926) and The Philosophy of Rhetoric (1936, 'tenor' and 'vehicle') are Richards's. Concepts of Criticism is Wellek's and the last Leavis's.

Bloom's The Anxiety of Influence (1973): the 'ephebe' must creatively misread his precursor.

Cultural studies is avowedly political and contextual, examining production and consumption. Formalism does the opposite.

Eliot (1923) opposes Classicism to Murry's Romantic trust in 'the inner voice'.

Poe (1846) → James (1884) → Eliot (1923) → Woolf's 'Modern Fiction' (The Common Reader, 1925).

Note: Woolf's essay first appeared as 'Modern Novels' (TLS, 1919); dated by that version the order would be option 3.

Frye (1957): spring–comedy, summer–romance, autumn–tragedy, winter–irony and satire.

Note: Options 1 and 3 were identical in the source; option 3 has been replaced.

'The Heresy of Paraphrase', the closing chapter of The Well Wrought Urn (1947).

The neo-Aristotelian Chicago critics (Critics and Criticism, 1952) were Crane, Olson, Richard McKeon and later Wayne Booth. Tillyard was a Cambridge historicist, and Tate a New Critic.

Part II: 'The murder of Agamemnon, or the agony of Othello, gives an artistic effect apparently closer to a possible original'.

'Metaphor is alien to the similarity disorder, and metonymy to the contiguity disorder' (1956): each type of aphasia loses one pole.

William James's 'stream of consciousness' (1890) → Shklovsky's defamiliarisation (1917) → Richards's Practical Criticism (1929) → Brooks's 'heresy of paraphrase' (1947).

Eliot: 'Racine or Baudelaire, the greatest masters of diction', are nearer the metaphysicals than Milton or Dryden. He also cites Laforgue and Corbière.

Shklovsky's ostranenie and the Prague School's foregrounding (Mukařovský). Aura is Benjamin's, the actant Greimas's, and the narratee Prince's and Genette's.