单选题 Read the following passage and then judge whether the statements that follow are true or not.(10 ps) Though the New Criticism had its origins in Britain in the criticism of T. S. Eliot, the theory of L A. Richards and the practice of William Empson, its most powerful impact has been in America. John Crowe Ransom, who published a book entitled The New Criticism in 1941 , was the leading influence and he acknowledged a debt to Eliot and Richards. The other major American New Critics were Cleanth Brooks, Allen Tate, Robert Penn Warren and W. K. Wimsatt. Indirectly related to the New Criticism are such important figures as Kenneth Burke and R. P. Blackmur. The early New Critics were politically conservative and their attitudes to literature were shaped by their opposition to certain twentieth-century tendencies of thought, such as Marxism. The fundamental aim of American New Criticism was to create a critical alternative to impressionism and historical scholarship, and thus there are some parallels with Russian Formalism. It advocated " intrinsic" criticism—an impersonal concern for the literary work as an independent object—and opposed "extrinsic" critical approaches, which concerned themselves with such matters as authorial intention, historical, moral or political considerations, and audience response. The earlier New Criticism was primarily interested in lyric poetry and regarded most highly forms of poetry in which irony, tension, paradox and ambiguity interact with the semantics of language in such a way, they believed, as to render poetic meaning unique and unparaphrasable. They claimed, however, that poetry could impart knowledge but a form of knowledge radically different from knowledge in the scientific sense. They particularly admired metaphysical poetry. Because the New Criticism argued that poetic language is semantically different from non-poetic language since it does not refer beyond itself but only function contextually within the structure of the poem, it is sometimes called, perhaps confusingly, "contextualism. " In Richards and in such New Critics as Brooks, there is a similar emphasis on the special nature of poetic language and they also agree that the highest forms of poetry embody heterogeneous or what appear to be contradictory elements, necessitating the use of such critical terms as irony and paradox. But whereas Richards tends to discuss these aspects of poetry in relation to the reader's emotions and psychology, Brooks places the greatest emphasis on the poem as an objective structure, as his essay, " The Formalist Critic, " shows. Richards's concept of the literary work as " pseudo-statement, " however, as presented in "Poetry and Beliefs, " first published in his book Science and Poetry(1926), was fundamental to the New Criticism and this essay also shows how important the work of T. S. Eliot was to the New Critical approach. Kenneth Burke might be called the Bakhtin of the New Criticism. He goes part of the way with Brooks's type of formalism but has some sympathy with Marxist ideas and argues that one cannot leave out of account sociological and psychological factors. John. M. Ellis is a more recent theorist who defends fundamental New Critical concepts from a standpoints influenced by the later philosophy of Wittgenstein. F. R. Leavis has a strong claim to be the most influential British critic of the twentieth-century. He had a good deal in common with the American New Critics in that he attached great importance to language and literary form. In particular he emphasized the enactive power of literary language. But there is a stronger moral dimension in his criticism than one finds in the New Critics. It is perhaps paradoxical, however, to include him in a book devoted to literary theory since he refused to discuss his critical position in theoretical terms. The essay " Literary Criticism and Philosophy, " first published in Scrutiny in 1937, was a response to Rene Wellek's view that he needed to spell out the theoretical basis of his criticism. Though Leavis in his reply refused to defend his critical position in abstract terms, the arguments he uses to justify his refusal are of considerable theoretical interest. A theoretical justification of Leavis's position can, however, be formulated, as John Casey shows in his book The Language of Criticism. Indeed, Casey argues that implied theory that underlies Leavis's critical practice is both innovative and cogent, since it embodies a synthesis of expressionist and mimetic theories of art. Now read the following statements and judge whether they are true or not. If true, write T in the bracket following the statement; if not, write F in the bracket following the statement.

单选题 The New Criticism had its origins and powerful influences in Britain.( )

单选题 John Crowe Ransom was the leading New Critic in America.( )

单选题 Kenneth Burke and R. P. Blackmur were major American New Critics.( )

单选题 All the New Critics were politically conservative.( )

单选题 The New Criticism advocated both intrinsic and extrinsic criticism, but it preferred the former to the latter.( )

单选题 The New Criticism was only interested in lyric poetry.( )

单选题 The New Criticism argued that poetic language was different from scientific language and therefore the poetic meaning was unique.( )

单选题 As New Critics, Richards and Brooks are similar to each other in every aspect.( )

单选题 Leavis had a good deal in common with the American New Critics in that there is a strong moral dimension in their criticisms.( )

单选题 Leavis refused to spell out the theoretical basis of his criticism because there was no theory in his critical practice.( )