Әдебиетті зерттеу, бағалау және түсіндіру

Study, evaluation, and interpretation of literature
the event

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. Whether or not literary criticism should be considered a separate field of inquiry from literary theory is a matter of some controversy. For example, The Johns Hopkins Guide to Literary Theory and Criticism draws no distinction between literary theory and literary criticism, and almost always uses the terms together to describe the same concept. Some critics consider literary criticism a practical application of literary theory, because criticism always deals directly with particular literary works, while theory may be more general or abstract. Literary criticism is often published in essay or book form. Academic literary critics teach in literature departments and publish in academic journals, and more popular critics publish their reviews in broadly circulating periodicals such as The Times Literary Supplement, The New York Times Book Review, The New York Review of Books, the London Review of Books, the Dublin Review of Books, The Nation, Bookforum, and The New Yorker.

Literary criticism is thought to have existed as far back as the classical period. In the 4th century BC Aristotle wrote the Poetics, a typology and description of literary forms with many specific criticisms of contemporary works of art. Poetics developed for the first time the concepts of mimesis and catharsis, which are still crucial in literary studies. Plato's attacks on poetry as imitative, secondary, and false were formative as well. The Sanskrit Natya Shastra includes literary criticism on ancient Indian literature and Sanskrit drama. Later classical and medieval criticism often focused on religious texts, and the several long religious traditions of hermeneutics and textual exegesis have had a profound influence on the study of secular texts. This was particularly the case for the literary traditions of the three Abrahamic religions: Jewish literature, Christian literature and Islamic literature. Literary criticism was also employed in other forms of medieval Arabic literature and Arabic poetry from the 9th century, notably by Al Jahiz in his al Bayan wa 'l tabyin and al Hayawan, and by Abdullah ibn al Mu'tazz in his Kitab al Badi.

The literary criticism of the Renaissance developed classical ideas of unity of form and content into literary neoclassicism, proclaiming literature as central to culture, entrusting the poet and the author with preservation of a long literary tradition. The birth of Renaissance criticism was in 1498, with the recovery of classic texts, most notably, Giorgio Valla's Latin translation of Aristotle's Poetics. The work of Aristotle, especially Poetics, was the most important influence upon literary criticism until the late eighteenth century. Lodovico Castelvetro was one of the most influential Renaissance critics who wrote commentaries on Aristotle's Poetics in 1570.

The seventeenth century witnessed the first full fledged crisis in modernity of the core critical aesthetic principles inherited from classical antiquity, such as proportion, harmony, unity, decorum, that had long governed, guaranteed, and stabilized Western thinking about artworks. Although Classicism was very far from spent as a cultural force, it was to be gradually challenged by a rival movement, namely Baroque, that favoured the transgressive and the extreme, without laying claim to the unity, harmony, or decorum that supposedly distinguished both nature and its greatest imitator, namely ancient art. The key concepts of the Baroque aesthetic, such as "conceit' (concetto), "wit" (acutezza, ingegno), and "wonder" (meraviglia), were not fully developed in literary theory until the publication of Emanuele Tesauro's Il Cannocchiale aristotelico (The Aristotelian Telescope) in 1654. This seminal treatise – inspired by Giambattista Marino's epic Adone and the work of the Spanish Jesuit philosopher Baltasar Gracián – developed a theory of metaphor as a universal language of images and as a supreme intellectual act, at once an artifice and an epistemologically privileged mode of access to truth.

In the Enlightenment period (1700s–1800s), literary criticism became more popular. During this time literacy rates started to rise in the public; no longer was reading exclusive for the wealthy or scholarly. With the rise of the literate public, the swiftness of printing and commercialization of literature, criticism arose too. Reading was no longer viewed solely as educational or as a sacred source of religion; it was a form of entertainment. Literary criticism was influenced by the values and stylistic writing, including clear, bold, precise writing and the more controversial criteria of the author's religious beliefs. These critical reviews were published in many magazines, newspapers, and journals. The commercialization of literature and its mass production had its downside. The emergent literary market, which was expected to educate the public and keep them away from superstition and prejudice, increasingly diverged from the idealistic control of the Enlightenment theoreticians so that the business of Enlightenment became a business with the Enlightenment. This development – particularly of emergence of entertainment literature – was addressed through an intensification of criticism. Jürgen Habermas, in Erkenntnis und Interesse [1968] (Knowledge and Human Interests), described literary critical theory in literary studies as a form of hermeneutics: knowledge via interpretation to understand the meaning of human texts and symbolic expressionsincluding the interpretation of texts which themselves interpret other texts. In the British and American literary establishment, the New Criticism was more or less dominant until the late 1960s. Around that time Anglo American university literature departments began to witness a rise of a more explicitly philosophical literary theory, influenced by structuralism, then post structuralism, and other kinds of Continental philosophy. It continued until the mid 1980s, when interest in "theory" peaked. Many later critics, though undoubtedly still influenced by theoretical work, have been comfortable simply interpreting literature rather than writing explicitly about methodology and philosophical presumptions.

Today, approaches based in literary theory and continental philosophy largely coexist in university literature departments, while conventional methods, some informed by the New Critics, also remain active. Disagreements over the goals and methods of literary criticism, which characterized both sides taken by critics during the "rise" of theory, have declined. Some critics work largely with theoretical texts, while others read traditional literature; interest in the literary canon is still great, but many critics are also interested in nontraditional texts and women's literature, as elaborated on by certain academic journals such as Contemporary Women's Writing, while some critics influenced by cultural studies read popular texts like comic books or pulp/genre fiction. Ecocritics have drawn connections between literature and the natural sciences. Darwinian literary studies studies literature in the context of evolutionary influences on human nature. And postcritique has sought to develop new ways of reading and responding to literary texts that go beyond the interpretive methods of critique. Many literary critics also work in film criticism or media studies.

Related to other forms of literary criticism, the history of the book is a field of interdisciplinary inquiry drawing on the methods of bibliography, cultural history, history of literature, and media theory. Principally concerned with the production, circulation, and reception of texts and their material forms, book history seeks to connect forms of textuality with their material aspects. Among the issues within the history of literature with which book history can be seen to intersect are: the development of authorship as a profession, the formation of reading audiences, the constraints of censorship and copyright, and the economics of literary form.