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9 Cards in this Set
- Front
- Back
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Organic Unity
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The idea that the parts of a text are integral to and interdependent to the whole.
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Close reading
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A method of reading in which one makes observations about the text using a technical vocabulary appropriate to the text and its genre. A close reading establishes a connection between form and content.
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Ambiguity/paradox
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Paradox refers to the parts of the text which appear to conflict with one another. Ambiguity refers to the gaps of meaning which appear in a text; these gaps can generally be resolved through a close reading of the text.
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Heresy of Paraphrase
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As Charles Bressler contends, New Critics hold the belief that “a work of art is not equal to its paraphrase.” According to Cleanth Brooks, “a true poem is a simulacrum of reality...an experience rather than any mere statement about experience or any mere abstraction from experience."
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Intentional Fallacy
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The intentional fallacy can be understood as “a confusion between the poem and its origins.” A poem “goes about the world beyond [the author’s] power to intend about it or control it.”
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Affective Fallacy
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The affective fallacy can be understood as “a confusion between the poem and its results." The problem is that “trying to derive the standard of criticism from the psychological effects of [a] poem… ends in impressionism and relativism.”
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Defamiliarization
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Defamiliarization is the process of making the familiar appear strange or of putting the old in a new light. According to Shklovsky, “The technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.”
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Habitualization
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Habitualization is the process of making habitual that which is unfamiliar. A good example of habitualization is desensitization from the media regarding violence, sex and so on.
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Foregrounding
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Foregrounding is the process of making certain elements of a text dominant or prominent. The distinguishing feature of literary language is that it foregrounds itself, particularly its own formal features.
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