النقد الجديد: داراسة الإطار النظري

**د. عبد الله بن محمود** · 21/Mar/2010, 04:57 PM

الباحث: د/ خالد عبد الرحمن حسن الأهدل

الدرجة العلمية: دكتوراه

الجامعة: جامعة صنعاء

بلد الدراسة: اليمن

لغة الدراسة: الإنجليزية

تاريخ الإقرار: 2008

Introduction
The word 'criticism' is derived from a Greek word that means 'judgment'. So, criticism is basically the exercise of judgment, and literary criticism is, therefore, the exercise of judgment on works of literature. From this, it is clear that the nature of literary criticism is to examine a work of literature, and its function is to identify its points of excellence and its inadequacies, and finally to evaluate its artistic worth.

Literary criticism concerns itself with asking philosophical questions about the nature of imaginative literature. It is not just surfing the literary text for answering questions about the syntactical or semantic structures of the sentences composing that literary work. It is probing deep into the being of a literary text and seeing how, if at all, it enlivens the spirit of the writer in relation to what is around him.

In the twentieth century, literary criticism, as any field of social sciences, became a major intellectual discipline. Its growth and flourishing conditions are the result of the revolutionary developments in the modern arts and the rising prestige of the physical sciences. The advances of the scientific studies in the 20th century highlighted the need for improved critical theory and methods. Also the contributions of psychology, anthropology, and sociology revealed the possibilities of new critical approaches. And an active and continuing exploration of literary sources of knowledge provided modern criticism with a multiplicity of viewpoints and outlooks.

During the first half of the twentieth century, literary critics became aware and conscious of the interaction between the past and the present. The interests of the critics ranged from the poetics of Plato and Aristotle, through the theory and criticism of the Renaissance, and to the eighteenth and nineteenth centuries. They were most deeply indebted to the nineteenth century.

Of all earlier literary movements, Romanticism is most important for modern criticism. Romanticism reacted against the Neoclassicism, represented by the critics of the eighteenth century. Critics in the early twentieth century, revolted against the oppressive Victorian aesthetic and social conventions. Samuel Taylor Coleridge and Matthew Arnold are the two principal leaders of the English Romantic Movement, who powerfully affected the criticism of the early part of the twentieth century. Arnold had a great impact on subsequent poetic practice and Coleridge upon criticism and theory.

Coleridge enjoyed the greater prestige among modern critics. His conception of the poem as a union and balance of opposing elements, set forth in Biographia Literaria (1817), was adopted by I. A. Richards and the American New Critics. As Walter Sutton (1963: 17) has rightly remarked:

His psychological and metaphysical preoccupations and his discussion of the creative imagination and of the poem as the utterance of the ‘whole soul of man’ have proved especially congenial to critics interested in literature as a possible source of supra-rational and supra-scientific knowledge and values.

Moreover, reacting against both impressionism and moralism, T. S. Eliot focused upon problems of technique and structure. His criticism was largely concerned with the nature of the literary work, rather than with the work in relation to its author, its audience, or the circumstances of its composition. His ‘impersonal theory’ of poetry and his definitions of the ‘objective correlative’ and ‘dissociation of sensibility’ also became guiding principles of later New Criticism.

New Criticism, as a school in modern literary criticism, emerged in the thirties of the twentieth century as a result of the works of critics like T. S. Eliot, I. A. Richards, William Empson, John Crowe Ransom, Allan Tate and many others. This New Criticism has taken literary criticism a step farther in the direction of the text itself. For the New Critics, anything outside the text itself is irrelevant and undesirable. That stand provoked a lot of counterstands which would be elaborated in the thesis.

During the Second World War, people realized that millions and millions were dying for no clear reason; to put it simply, people were killing each other just for nothing. The world outside the literary text was in complete disorder and chaos. That was one of many things that provoked the New Critics to look for order inside the text. The New Critics, then, believed that the study of literature could be more organized and systematic than it had been in the past. Specifically, they believed they could isolate the object of their work just as other ‘sciences’ had isolated their objects of study. For the New Critic, the province or object of the activity of criticism was the text itself, not its historical context, nor its author, nor its bibliographical history.

What the New Critics wanted to discuss was the part of literature that made literature 'literary'. They thought that to achieve this point, they should begin with the formal characteristics of the literary text.What are those characteristics? What items can be found in a work of literary art that define it as literary and as 'art'? The answer of such questions will be found in the body of the thesis.

منتدى الإيوان اللغوي
[فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ]
[فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ]

21/Mar/2010, 04:57 PM	#1 (permalink)
د. عبد الله بن محمود عضو اللجنة الاستشارية للمنتدى تاريخ التسجيل: Jan 2009 المشاركات: 457 Thanks: 102 Thanked 85 Times in 44 Posts معدل تقييم المستوى: 4	النقد الجديد: داراسة الإطار النظري الباحث: د/ خالد عبد الرحمن حسن الأهدلالدرجة العلمية: دكتوراه الجامعة: جامعة صنعاءبلد الدراسة: اليمنلغة الدراسة: الإنجليزيةتاريخ الإقرار: 2008 Introduction The word 'criticism' is derived from a Greek word that means 'judgment'. So, criticism is basically the exercise of judgment, and literary criticism is, therefore, the exercise of judgment on works of literature. From this, it is clear that the nature of literary criticism is to examine a work of literature, and its function is to identify its points of excellence and its inadequacies, and finally to evaluate its artistic worth. Literary criticism concerns itself with asking philosophical questions about the nature of imaginative literature. It is not just surfing the literary text for answering questions about the syntactical or semantic structures of the sentences composing that literary work. It is probing deep into the being of a literary text and seeing how, if at all, it enlivens the spirit of the writer in relation to what is around him. In the twentieth century, literary criticism, as any field of social sciences, became a major intellectual discipline. Its growth and flourishing conditions are the result of the revolutionary developments in the modern arts and the rising prestige of the physical sciences. The advances of the scientific studies in the 20th century highlighted the need for improved critical theory and methods. Also the contributions of psychology, anthropology, and sociology revealed the possibilities of new critical approaches. And an active and continuing exploration of literary sources of knowledge provided modern criticism with a multiplicity of viewpoints and outlooks. During the first half of the twentieth century, literary critics became aware and conscious of the interaction between the past and the present. The interests of the critics ranged from the poetics of Plato and Aristotle, through the theory and criticism of the Renaissance, and to the eighteenth and nineteenth centuries. They were most deeply indebted to the nineteenth century. Of all earlier literary movements, Romanticism is most important for modern criticism. Romanticism reacted against the Neoclassicism, represented by the critics of the eighteenth century. Critics in the early twentieth century, revolted against the oppressive Victorian aesthetic and social conventions. Samuel Taylor Coleridge and Matthew Arnold are the two principal leaders of the English Romantic Movement, who powerfully affected the criticism of the early part of the twentieth century. Arnold had a great impact on subsequent poetic practice and Coleridge upon criticism and theory. Coleridge enjoyed the greater prestige among modern critics. His conception of the poem as a union and balance of opposing elements, set forth in Biographia Literaria (1817), was adopted by I. A. Richards and the American New Critics. As Walter Sutton (1963: 17) has rightly remarked: His psychological and metaphysical preoccupations and his discussion of the creative imagination and of the poem as the utterance of the ‘whole soul of man’ have proved especially congenial to critics interested in literature as a possible source of supra-rational and supra-scientific knowledge and values. Moreover, reacting against both impressionism and moralism, T. S. Eliot focused upon problems of technique and structure. His criticism was largely concerned with the nature of the literary work, rather than with the work in relation to its author, its audience, or the circumstances of its composition. His ‘impersonal theory’ of poetry and his definitions of the ‘objective correlative’ and ‘dissociation of sensibility’ also became guiding principles of later New Criticism. New Criticism, as a school in modern literary criticism, emerged in the thirties of the twentieth century as a result of the works of critics like T. S. Eliot, I. A. Richards, William Empson, John Crowe Ransom, Allan Tate and many others. This New Criticism has taken literary criticism a step farther in the direction of the text itself. For the New Critics, anything outside the text itself is irrelevant and undesirable. That stand provoked a lot of counterstands which would be elaborated in the thesis. During the Second World War, people realized that millions and millions were dying for no clear reason; to put it simply, people were killing each other just for nothing. The world outside the literary text was in complete disorder and chaos. That was one of many things that provoked the New Critics to look for order inside the text. The New Critics, then, believed that the study of literature could be more organized and systematic than it had been in the past. Specifically, they believed they could isolate the object of their work just as other ‘sciences’ had isolated their objects of study. For the New Critic, the province or object of the activity of criticism was the text itself, not its historical context, nor its author, nor its bibliographical history. What the New Critics wanted to discuss was the part of literature that made literature 'literary'. They thought that to achieve this point, they should begin with the formal characteristics of the literary text.What are those characteristics? What items can be found in a work of literary art that define it as literary and as 'art'? The answer of such questions will be found in the body of the thesis. منتدى الإيوان اللغوي [فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ] [فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ] آخر تعديل بواسطة د. عبد الله بن محمود ، 24/May/2010 الساعة 02:38 PM

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