Biographical criticism is a form of literary criticism which analyzes a writer's biography to show the relationship between the author's life and their literary works. [2] Biographical criticism is often associated with historical-biographical criticism, [3] a critical method that "sees a literary work chiefly, if not exclusively, as a reflection of its author's life and times". [4]
This longstanding critical method dates back at least to the Renaissance period, [5] and was employed extensively by Samuel Johnson in his Lives of the Poets (1779–81). [6]
Like any critical methodology, biographical criticism can be used with discretion and insight or employed as a superficial shortcut to understanding the literary work on its own terms through such strategies as Formalism. Hence 19th century biographical criticism came under disapproval by the so-called New Critics of the 1920s, who coined the term "biographical fallacy" [7] [8] to describe criticism that neglected the imaginative genesis of literature.
Notwithstanding this critique, biographical criticism remained a significant mode of literary inquiry throughout the 20th century, particularly in studies of Charles Dickens and F. Scott Fitzgerald, among others. The method continues to be employed in the study of such authors as John Steinbeck, [2] Walt Whitman [3] and William Shakespeare. [9]
In The Cambridge history of literary criticism: Classical criticism, in a chapter titled "Peripatetic Biographical Criticism", George Alexander Kennedy notes that in the Hellenistic age, "The works of authors were read as sources of information about their lives, personalities and interests. Some of this material was then used by other commentators and critics to explain passages in their works. The process became a circular one in that, though Peripatetic biographers utilized external evidence where available, they had little to go on and quarried the texts for hints". [10]
Jackson J. Benson describes the form as a "'recognition of 'otherness'—that there is an author who is different in personality and background from the reader—appears to be a simple-minded proposition. Yet as a basic prerequisite to the understanding and evaluation of a literary text it is often ignored even by the most sophisticated literary critics. The exploration of otherness is what literary biography and biographical criticism can do best, discovering an author as a unique individual, a discovery that puts a burden on us to reach out to recognize that uniqueness before we can fully comprehend an author's writings.'" [2]
Biographical criticism shares in common with New Historicism an interest in the fact that all literary works are situated in specific historical and biographical contexts from which they are generated. Biographical Criticism, like New Historicism, rejects the concept that literary studies should be limited to the internal or formal characteristics of a literary work, and insists that it properly includes a knowledge of the contexts in which the work was created. Biographical criticism stands in ambiguous relationship to Romanticism. It has often been argued that it is a development from Romanticism, but it also stands in opposition to the Romantic tendency to view literature as manifesting a "universal" transcendence of the particular conditions of its genesis.[ citation needed ]
In The Art of Literary Biography (1995), John Worthen writes:
'The fact that we want an emergent sense of the inevitable development suggests the enormously soothing quality which biographies have come to have in our age. Not only do biographies suggest that things as difficult as human lives can – for all their obvious complexity – be summed up, known, comprehended: they reassure us that, while we are reading, a world will be created in which there are few or no unclear motives, muddled decisions, or (indeed) loose ends.' [11]
John Ernst Steinbeck was an American writer. He won the 1962 Nobel Prize in Literature "for his realistic and imaginative writings, combining as they do sympathetic humor and keen social perception". He has been called "a giant of American letters."
Psychoanalytic literary criticism is literary criticism or literary theory that, in method, concept, or form, is influenced by the tradition of psychoanalysis begun by Sigmund Freud.
Feminist literary criticism is literary criticism informed by feminist theory, or more broadly, by the politics of feminism. It uses the principles and ideology of feminism to critique the language of literature. This school of thought seeks to analyze and describe the ways in which literature portrays the narrative of male domination by exploring the economic, social, political, and psychological forces embedded within literature. This way of thinking and criticizing works can be said to have changed the way literary texts are viewed and studied, as well as changing and expanding the canon of what is commonly taught. It is used a lot in Greek myths.
Literary theory is the systematic study of the nature of literature and of the methods for literary analysis. Since the 19th century, literary scholarship includes literary theory and considerations of intellectual history, moral philosophy, social philosophy, and interdisciplinary themes relevant to how people interpret meaning. In the humanities in modern academia, the latter style of literary scholarship is an offshoot of post-structuralism. Consequently, the word theory became an umbrella term for scholarly approaches to reading texts, some of which are informed by strands of semiotics, cultural studies, philosophy of language, and continental philosophy, often witnessed within Western canon along with some postmodernist theory.
A genre of arts criticism, literary criticism or literary studies is the study, evaluation, and interpretation of literature. Modern literary criticism is often influenced by literary theory, which is the philosophical analysis of literature's goals and methods. Although the two activities are closely related, literary critics are not always, and have not always been, theorists.
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism.
Cleanth Brooks was an American literary critic and professor. He is best known for his contributions to New Criticism in the mid-20th century and for revolutionizing the teaching of poetry in American higher education. His best-known works, The Well Wrought Urn: Studies in the Structure of Poetry (1947) and Modern Poetry and the Tradition (1939), argue for the centrality of ambiguity and paradox as a way of understanding poetry. With his writing, Brooks helped to formulate formalist criticism, emphasizing "the interior life of a poem" and codifying the principles of close reading.
Lives of the Most Eminent English Poets (1779–81), alternatively known by the shorter title Lives of the Poets, is a work by Samuel Johnson comprising short biographies and critical appraisals of 52 poets, most of whom lived during the eighteenth century. These were arranged, approximately, by date of death.
The American Renaissance period in American literature ran from about 1830 to around the Civil War. A central term in American studies, the American Renaissance was for a while considered synonymous with American Romanticism and was closely associated with Transcendentalism.
Richard Warrington Baldwin Lewis was an American literary scholar and critic. He gained a wider reputation when he won a 1976 Pulitzer Prize for Biography or Autobiography, the first National Book Critics Circle Award for nonfiction, and a Bancroft Prize for his biography of Edith Wharton. The New York Times called the book "a beautifully wrought, rounded portrait of the whole woman, including the part of her that remained in shade during her life" and said that the "expansive, elegant biography ... can stand as literature, if nothing else."
"When Lilacs Last in the Dooryard Bloom'd" is a long poem written by American poet Walt Whitman (1819–1892) as an elegy to President Abraham Lincoln. It was written in the summer of 1865 during a period of profound national mourning in the aftermath of the president's assassination on 14 April of that year.
Austin Warren was an American literary critic, author, and professor of English.
William Winter was an American dramatic critic and author, born in Gloucester, Massachusetts. He graduated from Harvard Law School in 1857, then chose literature as his field of endeavor, and moved to New York City (1859), where he became literary critic of the Saturday Press, then (1861–65) of the New York Albion, and for more than 40 years (1865–1909) was a drama critic of the New York Tribune.
A biography, or simply bio, is a detailed description of a person's life. It involves more than just basic facts like education, work, relationships, and death; it portrays a person's experience of these life events. Unlike a profile or curriculum vitae (résumé), a biography presents a subject's life story, highlighting various aspects of their life, including intimate details of experience, and may include an analysis of the subject's personality.
Louis Dean Owens was a novelist and scholar who claimed Choctaw, Cherokee, and Irish-American descent. He is known for a series of Native-themed mystery novels and for his contributions to the then-fledgling field of Native American Studies. He was also a professor of English and Native American studies, and frequently contributed articles, literary criticism and reviews to periodicals. Owens died by suicide in 2002.
Sociological criticism is literary criticism directed to understanding literature in its larger social context; it codifies the literary strategies that are employed to represent social constructs through a sociological methodology. Sociological criticism analyzes both how the social functions in literature and how literature works in society. This form of literary criticism was introduced by Kenneth Burke, a 20th-century literary and critical theorist, whose article "Literature As Equipment for Living" outlines the specification and significance of such a critique.
The Lives of the Most Eminent Literary and Scientific Men comprised ten volumes of Dionysius Lardner's 133-volume Cabinet Cyclopaedia (1829–1846). Aimed at the self-educating middle class, this encyclopedia was written during the 19th-century literary revolution in Britain that encouraged more people to read.
In Defense of Reason is a three-volume work of literary criticisms by the American poet and literary critic Yvor Winters. First published in 1947, the book is known for its meticulous study of metrical verse and for its examples of Winters' system of ethical criticism.
When studying literature, biography and its relationship to literature is often a subject of literary criticism, and is treated in several different forms. Two scholarly approaches use biography or biographical approaches to the past as a tool for interpreting literature: literary biography and biographical criticism. Conversely, two genres of fiction rely heavily on the incorporation of biographical elements into their content: biographical fiction and autobiographical fiction.
A novelist is an author or writer of novels, though often novelists also write in other genres of both fiction and non-fiction. Some novelists are professional novelists, thus make a living writing novels and other fiction, while others aspire to support themselves in this way or write as an avocation. Most novelists struggle to have their debut novel published, but once published they often continue to be published, although very few become literary celebrities, thus gaining prestige or a considerable income from their work.