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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.
Subversion and containment is a concept in literary studies introduced by Stephen Greenblatt in his 1988 essay "Invisible Bullets". [1] It has subsequently become a much-used concept in new historicist and cultural materialist approaches to textual analysis.
Harold Aram Veeser (born November 3, 1950) [1] 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.
Much of his work has been "part of a collective project", such as his work as co-editor of the Berkeley-based literary-cultural journal Representations (which he co-founded in 1983), as editor of publications such as the Norton Anthology of English Literature, and as co-author of books such as Practicing New Historicism (2000), which he wrote ...
This school of thought is sometimes given the name of New Historicism. The same term, new historicism is also used for a school of literary scholarship which interprets a poem, drama, etc. as an expression of or reaction to the power-structures of its society. Stephen Greenblatt is an example of this school.
Jane Tompkins (born 1940) is an American literary scholar who has worked on canon formation, feminist literary criticism, and reader response criticism. [1] She has also coined and developed the notion of cultural work in literary studies [2] [3] and contributed to the new historicist form of literary criticism that emerged in the 1980s.
From November 2013 until January 2016, the NYC Housing, Preservation and Development agency, which is responsible for oversight of the city’s vast stock of multi-unit residential buildings, issued more than 10,000 violations for dangerous lead paint conditions in units with children under the age of six, the age group most at risk of ingesting lead paint.
The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value. It is the antithesis of affective criticism, which is the practice of evaluating the effect that a literary work has on its reader or audience.