A tour de force of new literary criticism.In their introduction,
Gallagher (Nobodys Story, not reviewed) and Greenblatt (Marvelous
Possessions, 1991) express the hope that you will not be able to
say what it all adds up to; if you could, we would have failed.
Alas, they succeed, and its doubtful that a better demonstration of
the anarchy and solipsism of literary criticism today can be found.
They mean to demonstrate how their varied approaches to all sorts
of texts grow out of the rediscovery by scholars like them of the
relevance of historical and cultural context to the interpretation
of just about everything. But they do so in ways that their
predecessorsthe Victorian scholars who used history as an
interpretive tool before the New Critics began to avoid itwould
scarcely comprehend. Moreover, with misplaced modesty, they refuse
to claim that their interpretations are any better than
otherswhich, of course, is an imposed interpretive principle of its
own. This being said, Gallagher and Greenblatts virtuoso readings
of paintings, potatoes (yes, spuds), religious ritual, and
novelsall textsas well as essays on criticism and the significance
of anecdotes, are likely to take their place as model examples of
the qualities of the new critical school that they lead.
Ironically, because everything they write suffers from what might
be called the fallacy of excessive significance (i.e., finding in
texts what may not be there), they reveal themselves to be as adept
at close reading as the New Critics they shun. Historians (who know
something about historicism) will find their teeth set on edge by
the way Gallagher and Greenblatt do history. But thats part of the
fun and fascination of the book.A zesty work for those already
initiated into the incestuous world of contemporary literary
criticismand for those who might like to see what all the fuss is
about. (12 illustrations) (Kirkus Reviews)
For almost twenty years, new historicism has been a highly
controversial and influential force in literary and cultural
studies. In "Practicing the New Historicism, " two of its most
distinguished practitioners reflect on its surprisingly disparate
sources and far-reaching effects.
In lucid and jargon-free prose, Catherine Gallagher and Stephen
Greenblatt focus on five central aspects of new historicism:
recurrent use of anecdotes, preoccupation with the nature of
representations, fascination with the history of the body, sharp
focus on neglected details, and skeptical analysis of ideology.
Arguing that new historicism has always been more a passionately
engaged practice of questioning and analysis than an abstract
theory, Gallagher and Greenblatt demonstrate this practice in a
series of characteristically dazzling readings of works ranging
from paintings by Joos van Gent and Paolo Uccello to "Hamlet" and
"Great Expectations."
By juxtaposing analyses of Renaissance and nineteenth-century
topics, the authors uncover a number of unexpected contrasts and
connections between the two periods. Are aspects of the dispute
over the Roman Catholic doctrine of the Eucharist detectable in
British political economists' hostility to the potato? How does
Pip's isolation in "Great Expectations" shed light on Hamlet's
doubt?
Offering not only an insider's view of new historicism, but also a
lively dialogue between a Renaissance scholar and a Victorianist,
"Practicing the New Historicism" is an illuminating and
unpredictable performance by two of America's most respected
literary scholars.
"Gallagher and Greenblatt offer a brilliant introduction to new
historicism. In their hands, difficult ideas become coherent and
accessible."--"Choice"
"A tour de force of new literary criticism. . . . Gallagher and
Greenblatt's virtuoso readings of paintings, potatoes (yes, spuds),
religious ritual, and novels--all 'texts'--as well as essays on
criticism and the significance of anecdotes, are likely to take
their place as model examples of the qualities of the new critical
school that they lead. . . . A zesty work for those already
initiated into the incestuous world of contemporary literary
criticism-and for those who might like to see what all the fuss is
about."--"Kirkus Reviews," starred review
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