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English Interp. Theory New Historic

by: Courtney Notetaker

English Interp. Theory New Historic English 491-01 (3674)

Marketplace > University of Louisville > Foreign Language > English 491-01 (3674) > English Interp Theory New Historic
Courtney Notetaker
U of L

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About this Document

New Historical
English Interpretive Theory
Karen Hadley
Class Notes
Eng 491, New Historical Lit Interpretation
25 ?




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This 3 page Class Notes was uploaded by Courtney Notetaker on Monday February 29, 2016. The Class Notes belongs to English 491-01 (3674) at University of Louisville taught by Karen Hadley in Fall 2015. Since its upload, it has received 32 views. For similar materials see English Interpretive Theory in Foreign Language at University of Louisville.

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Date Created: 02/29/16
English 491 Karen Hadley Ch. 9: New Historical and Cultural Criticism Terminology (partial list):  Traditional Historicism­history exists for progress.  Objective Analysis Spirit of the Age Subjectivity (role of)­our subjectivity, or selfhood, is shaped by ad shapes the culture into which  we were born. Our individual identity is not just a product of society or our individual will and  desire. Culture and individual identity inhabit, define, and reflect each other.  Culture + free  will=subjectivity. Power (circulation/exchange of) Michel Foucault Discourse(s)­is a social language created by particular cultural conditions at a particular time and space, and it expresses a particular way of understanding human experience. Discourse has  roughly the same meaning as ideology. Discourse draws attention to the role of language as a  vehicle of ideology.  Primary Source­ The primary sources are something that occurred during the time period written  by a person reflecting the things around them at that time. This is the original perspective on the  material that’s being represented.  Secondary Source­ This is the analysis of a primary source. It could be by a person in that same  time period or a historian interpreting the primary source later on.  Narrative (Historical Accounts as) Master Narrative 2 Thick Description­ is a close, detailed examination od a given cultural production­such as  birthing practices, ritual ceremonies, games, penal codes, works of art­to discover the meanings  that particular culture production had for the people in whose community it occurred and to  reveal the social conventions, cultural codes, and ways of seeing the world that gave that  production those meanings. Thick description is not a search for facts, but a search for meanings. It focuses on the personal side of history. Self­Positioning­ Cultural Artifact (literary text as) Cultural Work Culture (in Cultural Criticism) Stephen Greenblatt Topics:  Traditional Historians vs. New Historicists How do New Historicists see subjectivity as a process of negotiation? What is the role of deconstruction in the New Historicism? Define New Historicism as “the history of lies cultures tell themselves”? New Historicism vs. Cultural Criticism How does New Historicism view the traditional opposition between history and literature? Questions from Tyson’s chapter on New Historicist and Cultural Criticism a.) How do traditional historians tend to see history, and what kinds of questions do they ask  about it? How does a New Historicist approach differ from this? What is the status of  objectivity in each? b.) Where do New Historicists stand in the classic argument between determinism and free  will? How do they describe human subjectivity? c.) For a New Historicist, what is the relation between discourse(s) and history? 3 d.) How do New Historicists view the distinction between primary and secondary sources of  historical information? What do they use to analyze these sources? Likewise and with  regard to interpreting literary works, how do they handle the distinction between text and  context? e.) How does New Historicism import ideas from deconstruction, especially with regard to  master narratives? f.) Explain the New Historicist belief that “there is no history . . . there are only  representations of history”? g.) How do New Historicist critics address the difficult truth that their work is unavoidably  subjective, or inevitably influenced by personal bias? h.) Name 6 key concepts of the New Historicism? i.) What similarities do we find between New Historicist and Cultural Criticism? What  central distinction? (Tyson lists 3) j.) How are we to understand Greenblatt’s observation that literary study is the “servant of  cultural understanding”?


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