Transcript New Historicism

 critical theories can overlap with one another in terms
of their application
 Marxists can draw on psychoanalytic concepts to help
them analyze the debilitating effects of capitalism on
peoples mental well being.
 Feminists can draw on Marxist concepts to examine the
socioeconomic oppression of women.
 Queer theory can draw on deconstruction to
problematize the binary constructs of gay and straight
 most critical theories remain distinct from one another in
terms of their purpose.
 Marxism attempts to reveal the ways in which our
socioeconomic system is the ultimate source of our
experience.
 Feminism attempts to reveal the ways in which patriarchal
gender roles are the ultimate source of our experience.
 Psychoanalysis attempts to reveal the ways in which repressed
psychological conflicts are the ultimate source of our
experience.
 Structuralism attempts to reveal the simple structural systems
that make possible our understanding of an otherwise chaotic
world.
“Old” and New Historicism
“Old Historicism” (not a
real word)
 Most of us are raised to think
about history in the
traditional way
 One would read an account of
a Revolutionary War battle
written by an American
historian in 1944 and ask, if
we asked anything at all, “Is
this account accurate?” or
“What does this battle tell us
about the ‘spirit of the age’ in
which it was fought?”
New Historicism
 In contrast, a new historicist would read
the same account of that battle and ask

“What does this account tell us about the
political agendas and ideological conflicts
of the culture that produced and read the
account in 1944?”
 New historical interest in the battle itself
would produce such questions as
 “At the time in which it was fought, how
was this battle represented (in
newspapers, magazines, tracts,
government documents, stories,
speeches, drawings, and photographs) by
the American colonies or by Britain (or by
European countries) and what do these
representations tell us about how the
American Revolution shaped and was
shaped by the cultures that represented
it?”
 The questions asked by traditional historians and by
new historicists are quite different
 these two approaches to history are based on very
different views of what history is and how we can know
it.
 Traditional historians ask, “What happened?” and
“What does the event tell us about history?”
 In contrast, new historicists ask, “How has the event
been interpreted?” and “What do the interpretations tell
us about the interpreters?”
Zeitgeist
 For most traditional historians, history is a series of events
that have a linear, causal relationship: event A caused event
B, event B caused event C, and so on.
 they believe we are perfectly capable, through objective
analysis, of uncovering the facts about historical events
 some of the most popular traditional historical accounts
have offered a key concept that would explain the
worldview of a given historical population
 such as the Renaissance notion of the Great Chain of Being—
the cosmic hierarchy of creation, with God at the top of the
ladder, human beings at the middle, and the lowliest
creatures at the bottom—which has been used to argue that
the guiding spirit of Elizabethan culture was a belief in the
importance of order in all domains of human life.
Zeitgeist
 You can see this aspect of the traditional approach in
history classes that study past events in terms of the
spirit of an age, such as the Age of Reason or the Age of
Enlightenment
 You can see it in literature classes that study literary
works in terms of historical periods, such as the
neoclassical, romantic, or modernist periods.
 traditional historians generally believe that history is
progressive, that the human species is improving over
the course of time, advancing in its moral, cultural, and
technological accomplishments.
 It’s All B.S.
 New historicists don’t believe we have clear access to
any but the most basic facts of history.
 George Washington was the first American president

This isn’t even “true”
 Napoleon was defeated at Waterloo.
 What do these facts mean? How do they fit within the
complex web of competing ideologies and conflicting
social, political, and cultural agendas of the time and
place in which they occurred ?
 History is strictly a matter of interpretation, not fact.
 Even when traditional historians believe they are
sticking to the facts, the way they contextualize those
facts (including which facts are deemed important
enough to report and which are left out) determines
what story those facts will tell.
 From this perspective, there is no such thing as a
presentation of facts; there is only interpretation.
 The first and most important reason for this difficulty,
new historicists believe, is the impossibility of objective
analysis.
 Like all human beings, historians live in a particular
time and place, and their views of both current and
past events are influenced in innumerable conscious
and unconscious ways by their own experience within
their own culture.
 Historians may believe they’re being objective, but
their own views of what is right and wrong, what is
civilized and uncivilized, what is important and
unimportant, and the like, will strongly influence the
ways in which they interpret events.
 For example, the traditional view that history is progressive
is based on the belief, held in the past by many AngloEuropean historians, that the “primitive” cultures of native
peoples are less evolved than, and therefore inferior to, the
“civilized” Anglo-European cultures.
 Native American’s had at least three genders, seems pretty
advanced to me, we can only handle two.
 As a result, ancient cultures with highly developed art
forms, ethical codes, and spiritual philosophies, such as the
tribal cultures of Native Americans and Africans, were
often misrepresented as lawless, superstitious, and savage.
 Another reason for the difficulty in producing reliable
interpretations of history is its complexity.
 For new historicists, history cannot be understood
simply as a linear progression of events. At any given
point in history, any given culture may be progressing
in some areas and regressing in others.
 And any two historians may disagree about what
constitutes progress and what doesn’t, for these terms
are matters of definition. That is, history isn’t an
orderly parade into a continually improving future, as
many traditional historians have believed.
 It’s more like an improvised dance consisting of an
infinite variety of steps, following any new route at any
given moment, and having no particular goal or
destination.

Individuals and groups of people may have goals, but human
history does not.
What is New Historicism?
 New Historicists see literary studies, from the new
criticism right on down to deconstruction, as tending
to evade history or as using history only as background
and context.
 By the new historicists account it’s bad to load you up on
historical context before we have you read a text.
 It’s also bad to see history as a certain and stable set of
secure facts
 Instead…
 New historicists try to read
history and literature together,
with each influencing the other,
and without a stable set of facts.
 History can be deconstructed
just as easily as any literary text

Romeo and Juliet is about the
beauty of true love!
 Romeo and Juliet is about a
couple of overly dramatic idiot
teenagers who wind up getting
themselves killed over crushes!
 With history, just as with
Literature, there are always
multiple perspectives that can
lead to multiple interpretations
Facts aren’t Facts
 There are ten commandments
 Thou shalt not mix dairy and beef!
 The sun rises in the morning and sets in the evening
 Summer comes in June, July and August.
 Columbus discovered America in 1492
 George Bush was elected President in 2000
 New Historicists see themselves as recovering history
for literary studies
 Literature comes not only from individual authors but
also from the cultural controversies of an age
 Controversies provoke literature, the literature
interprets the controversies in a continuous cycle of
exchange and influence
 “Old” historicists saw literature as merely reflecting
the world
 New Historicists see Literature as reflecting and
rethinking the rest of the world
 Shakespeares comedies, and other comedies of the era tend
to end with characters falling in love and getting married
 Historian Lawrence Stone, in The Family, Sex, and
Marriage in England, 1400-1800 (1977) argued that
marriages in Renaissance England came late, and were
arranged (and we’re going to assume that he’s largely
accurate).
 For an “old” historicist literary critic, this is a problem, the
plays and the history don’t seem to match.
 New Historicists see text as doing more than just
reproducing their surrounding culture.
 The plays seek to escape from established patterns
 The plays are a parody of established patterns
 The plays are a fantasy world that has little to do with daily
life
What do New Historicists Do?
 Juxtapose literary and non-literary texts, reading the
former in the light of the latter.
 Try to “defamiliarise” the canonical literary text, detaching
it from the accumulated weight of previous literary
scholarship and seeing as if new
 Focus attention (within both the text and co-text) on issues
of power and how it is maintained, on patriarchal
structures and their perpetuation, and on the process of
colonization, with its accompanying “mind-set”.
 Make use of aspects of the post-structuralist outlook,
especially Derrida’s notion that every facet of reality is
textualized, and Foucault’s idea of social structures as
determined by dominant “discursive practices”.
In Short
 Parallel readings of literary and non-literary texts
 They don’t privilege literary texts
 Instead they place the literary text within the “frame” of a
non literary-text.
What do the New Historicists ask?
 The following questions are intended to summarize approaches to
literary analysis employed by new historicists, these questions offer us
ways to examine the cultural work performed by literary texts.
 As you read these questions and imagine the ways in which a new
historical critic might address them, keep in mind that, for such critics,
no historical event, artifact, or ideology can be completely understood
in isolation from the innumerable historical events, artifacts, and
ideologies among which it circulates, and our own cultural experience
inevitably influences our perceptions, making true objectivity
impossible.
 We can use new historical and cultural criticism properly only if we
keep clearly in mind that our analysis is always incomplete, partial, and
our perspective is always subjective. We can’t stand outside our own
culture and analyze texts from an objective vantage point. We can write
only from within our own historical moment.
1.
2.
3.
How does the literary text function as part of a continuum with other
historical and cultural texts from the same period, for example, penal codes,
birthing practices, educational priorities, the treatment of children under
the law, other art forms (including popular art forms), attitudes toward
sexuality, and the like? That is, taken as part of a description of a given
culture at a given point in history, what does this literary work add to our
tentative understanding of human experience in that particular time and
place, including the ways in which individual identity shapes and is shaped
by cultural institutions?
How can we use a literary work to map the interplay of both traditional and
subversive discourses circulating in the culture in which that work emerged
and/or the cultures in which the work has been interpreted? Put another
way, how does the text promote ideologies that support and/or undermine
the prevailing power structures of the time and place in which it was written
and/or interpreted?
Using rhetorical analysis (analysis of a text’s purpose and the stylistic means
by which it tries to achieve that purpose), what does the literary text add to
our understanding of the ways in which literary and nonliterary discourses
(such as political, scientific, economic, and educational theories) have
influenced, overlapped with, and competed with one another at specific
historical moments?
4. What does the literary work suggest about the experience
of groups of people who have been ignored,
underrepresented, or misrepresented by traditional
history (for example, laborers, prisoners, women, people
of color, lesbians and gay men, children, the insane, and
so on)? Keep in mind that new historical and cultural
criticism usually include attention to the intersection of
the literary work with nonliterary discourses prevalent in
the culture in which the work emerged and/or in the
cultures in which it has been interpreted and often focus
on such issues as the circulation of power and the
dynamics of personal and group identity.
5. How has the work’s reception by literary critics and the
reading public—including the reception at its point of
origin, changing responses to the work over time, and its
possible future relationship with its audience—been
shaped by and shaped the culture in which that reception
occurred?
Presentism
 Presentism is typically a pejorative
 Seeing feminism in Chaucer’s Wife of Bath tale
 Seeing an environmental sensibility in Moby Dick, or a
gay one

Not to say Herman Melville didn’t have a thing for the boys
 Letting your “present” ideas distort the past
 Still, can we ever know the past itself? We only view it
through the lens of the present.
 Be aware of your own biases
Greenblatt, Foucault and Hayden White
Stephan Greenblatt
 Coined the term “new
historicism”
 Preferred the term “cultural
poetics”
Michel Foucault
 Primarily concerned with the
relationship between
knowledge and power
 We internalize patterns of
expectations from the
surrounding culture, absorbing
the culture’s expectations so
much that we take them for
granted and suppose that they
come from our own thinking.
 Knowledge constructs what it
purports to know
 For Foucault, a discourse
produces what it purports to
describe
 Gender
 Internalized patterns of cultural expectation about
feminity and masculinity that, as the philosopher Judith
Butler ahs argued, construct through repetition what
they purport to know.


People figure women move, talk, and dress in a certain variety
of ways and that men move talk and dress in a different variety
of ways
But the discourse of gender constructs that knowledge
through repeated actions and expectations. If people did not
repeat that discourse, then others would not continue to
believe in it and see it as knowledge.
 Before Foucault, people thought that gender was there
before the discourse. After Foucault, people think that
the discourse created gender.
 To Foucault, modern society works like the
Panopticon.
 Our discourses of gender regulate, discipline, police and
surveil behavior and beliefs, producing and reproducing
stereotypical ideas of gender.
 People internalize those ideas so deeply that no one else
has to make them believe or live by those ideas.
 People surveil themselves, making sure they abide by
the dominant discourse.

You can probably think of ways of dressing, walking, talking,
or gesturing that signify femininity and masculinity and ways
in which people police themselves from acting in ways the
dominant discourse would construct as “wrong”.
 For Foucault, this is more powerful than coercion.
Hayden White
 “Metahistory”
 Historical narratives are verbal fictions
supported by philosophical theories of
history that seek to validate their “plots”.
 Sequences of events are selected from
historical data plot structures are imposed
on them to turn them into comprehensible
narratives
 Narrative genre’s have rules that lead you to
tell a story that justify your selection of the
events that compose it.
 Archetypal tropes shape our understanding
of history
 History itself is just another literary genre
But what can Foucault do for you?
 Why do we repress
human sexuality?
 As we internalize the
discourse of sexuality,
it regulates and
administers our lives.
 Foucault criticizes
what he calls Freud's
“repressive
hypothesis”, that we
suffer from this
repression.
 Repression isn’t
repression,
“Repression” makes
sex dirty,

making it dirty makes it
fun.