Modern Literary Criticism: A Historical Account
Modern Literary Criticism
A Historical Perspective
At the end of the 19th century, literature underwent a transformation, leading to the development of contemporary literary theories. Modernist and Symbolist poets spearheaded this change. Edgar Allan Poe’s *Philosophy of Composition* exemplifies this anti-Romantic shift, viewing literature as a craft rather than solely a product of genius. This era is characterized by autoreflexivity—literature reflecting on its own nature.
Unlike Impressionist art criticism, Modernism embraced critical art. This resulted in what Barthes and Kristeva termed “text,” a blend of literary and theoretical discourse.
Historical-Positive Literary History
Emerging from 19th-century Romanticism, the science of literature—initially identified with literary history—employed positivist scientific methods. This approach, known as historical-positivism, linked literature to its historical context. The new institutional role of literature established it not only as a national body of texts but also as a field of academic study.
The belief that a period’s general mindset explains everything led to historical determinism, prevalent in much of 20th-century literary theory. This determinism viewed texts as products of their ideological presuppositions.
Impressionist Criticism
Alongside the rise of the science of literature in the latter half of the 19th century, impressionist literary criticism emerged, rejecting objectivity. Leading figures emphasized the critic’s subjective experience.
Impressionists believed that the critic’s inherent subjectivity prevented objective observation. The notion of criticism as art, reliant on imagination and feeling, along with absolute subjectivity, defined impressionist criticism. Impressionist critical texts closely resembled literary texts.
The Russian Formalist School
Contemporary literary theory arguably begins with the Russian Formalist school, comprising two groups:
- The Moscow Linguistic Circle (e.g., Roman Jakobson)
- The Society for the Study of Poetic Language (Opojaz) (e.g., Viktor Shklovsky)
While the Moscow Linguistic Circle applied existing linguistic theories, Opojaz developed its own. Both groups shared similar goals, forming a cohesive movement.
Emerging in 1916, the Formalists rejected positivism, favoring an internal, immanent approach to analyzing artwork over external considerations. Avant-garde literary practices significantly influenced these critics. Their intrinsic focus clashed with social theories of art, particularly given the political climate demanding explicit revolutionary commitment. The rise of Marxism led to conflict, resulting in the persecution and emigration of many Formalists.