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.
The works of Cambridge scholar I. A. Richards, especially his Practical Criticism, The Principles of Literary Criticism and The Meaning of Meaning, which offered what was claimed to be an empirical scientific approach, were important to the development of a New Critical methodology.[1] Cleanth Brooks, John Crowe Ransom, W. K. Wimsatt, and Monroe Beardsley also made significant contributions to New criticism. It was Wimsatt and Beardsley who gave the idea of intentional and affective fallacy. Also very influential were the critical essays of T. S. Eliot, such as "Tradition and the Individual Talent" and "Hamlet and His Problems", in which Eliot developed his notions of the "theory of impersonality" and "objective correlative" respectively. Eliot's evaluative judgments, such as his condemnation of Milton and Dryden, his liking for the so-called metaphysical poets, and his insistence that poetry must be impersonal, greatly influenced the formation of the New Critical canon.