Terms
Used by New Historicism
THE
FOLLOWING TERMS
are presented in alphabetical order; however, someone beginning to learn
about New Historicism needs to stay conscious of the fact that this
school is particularly heterogeneous, with many different critics interpreting
terms in their own way. I have indicated those terms that are particularly
tied to an individual theorist, as well as those terms that are used
differently by two different critics. For an introduction to the work
of a few theorists who inspired or are currently influencing New Historicism,
see the Modules on New
Historicism in this site. Whenever a defined term is used elsewhere
in the Guide to Theory, a hyperlink will eventually (if it does not
already) allow you to review the term in the bottom frame of your browser
window. The menu on the left allows you to check out the available terms
without having to scroll through the list below. Note that the left-hand
frame works best in Explorer, Mozilla, and Netscape 4; you may experience
some bugs in Netscape 6 and Opera. (See the Guide
to the Guide for suggestions.) I will also soon provide an alternate
menu option; for now, just scroll down.
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Anecdote: |
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Archive: |
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Body
Politic : |
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Bureaucracy: |
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Carceral: |
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Circulation: |
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New Historicists argue that all levels of society
share in the circulation of power through the production and distribution
of the most elementary cultural and social "texts." Power
does not reside somehow "above," with lawyers, politicians,
and the police, but rather follows a principle of circulation, whereby
everyone participates in the maintainence of existing power structures. |
Containment: |
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Whereas Marx-inspired Cultural Materialists tend to
examine sites of subversion in literature, New Historicists (inspired
by Michel Foucault) tend to concern themselves with forces of containment
and the ways hegemonic forces consolidate the status quo. New Historicists
look at moments of rupture to examine how forces of rebellion are
still able to be co-opted by the powers that be (e.g. how Public
Enemy's message in "Fight the Power" is compromised and
even nullified by the group's participation in the corporate music
industry). |
Context: |
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Like Cultural Materialists, New Historicists reject
the New Critical precept that texts are autonomous units that should
be examined without bringing in what New Critics termed the "intentional
fallacy" (i.e. biographical criticism) or the "historical
fallacy." New Historicists, by contrast, argue that texts are
always intimately connected to their historical and social context,
especially perhaps when texts attempt to repress that context. To
put it another (psychoanalytical) way, history serves as the repressed
unconscious
of literature. |
Co-Opt
(co-optation): |
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Culture: |
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Discourse: |
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Expropriation: |
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Force: |
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Governmentality: |
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Ground: |
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Hegemony: |
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The processes by which dominant culture maintains
its dominant position: for example, the use of institutions to formalize
power; the employment of a bureaucracy to make power seem abstract
(and, therefore, not attached to any one individual); the inculcation
of the populace in the ideals of the hegomonic group through education,
advertising, publication, etc.; the mobilization of a police force
as well as military personnel to subdue opposition. |
History: |
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New Historicists reject the Western tendency to write
history from the top down (e.g. political history) or in grand narrative
strokes. They are instead more concerned with what Lyotard terms
petits récits, particularly how such "little
narratives" participate in the consolidation and maintainance
of the status quo. |
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Ideology: |
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New Historicists tend to follow the post-Lacanian
and post-Marxist view of ideology; rather than see ideology as false
consciousness, as something that is obscuring one's perception of
the truth, New Historicists argue that to recognize your own ideology
is like pushing the bus you're riding on, since it is so much a
part of the way you perceive the world and its workings. |
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Knowledge: |
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Liminal: |
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Marginal
(marginalized): |
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Narrative: |
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Oppositional
Discourse : |
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Panoptic: |
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Power: |
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"[A] way of acting upon an acting subject or
acting subjects by virtue of their acting or being capable of action"
(Foucault,
"Subject" 220). Although this term seems as if it
should be self-explanatory, it has in fact been inflected by its
re-definition in the work of an important precursor for New Historicism,
Michel Foucault. In his work, Foucault argues that power is not
merely physical force but a pervasive human dynamic determining
our relationships to others. (One need only think of how one acts
differently the moment someone enters a room in which one had previously
been alone.) Power is also not necessarily "bad," since
it can also be productive. (We may be willing, for example, to assign
to certain people the power to organize an activity because we know
they are capable of helping us actually accomplish the task at hand.)
We could also say that power is essential to a just society; all
people exert a certain power over us insofar as we defer to their
needs and desires. The moment we cease to acknowledge this power
an other has over us, then we deny that other's humanity (his/her
human rights.) As Foucault puts it, "slavery is not a power
relationship when man is in chains" (Foucault,
"Subject" 221). However, power also refers to the
(often surreptitious) ways in which a dominant group exerts its
influence over others. Though this hegemonic
power may (at some end point) rely on the threat of punishment,
it does not necessarily rely on actual physical enforcement on a
day-to-day basis. (Imagine this scenario, for example: you are driving
over a flat country landscape at night and you reach a stop light.
There is no one else that you can see for miles, and yet do you
not feel obliged to stop for the light?) For more, follow the New
Historicism: Modules: Foucault: Power pathway. |
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Representation: |
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Subject: |
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Subversion: |
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Textuality: |
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According to New Historicism, all texts may be examined
for their historicity, just as any historical phenomenon, no matter
how apparently trivial or unimportant (e.g. Madonna videos or Renaissance
miniature portraiture), can be analysed much as one would a literary
text. |
Thick
Description : |
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Uneven
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Visits to the site since July 17,
2002
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