As is the case with grunge, the roots of the New Historicist movement can be traced to the mid ’80s and its best work had already been done by the late ’90s.
New historicism has been tapped in synchronic studies of biblical literature but never applied to questions of composition history.
12 Cf. New Historicism stands as a new (the first recorded use was in 1972) interpretive strategy. 11 “ The New Historicism in Renaissance Studies,” English Literary Renaissance, 16 (1986), 13 – 43, here quoting page 19. It exists as a convention merely because someone invented the phrase “New Historicism” and enough people started using it.
The New Historicism will view the work of art itself as “the product of a set of manipulations .
New Historicism is a literary theory based on the idea that literature should be studied and intrepreted within the context of both the history of the author and the history of the critic.
It is fact that new historicism was influenced by Jacques Derrida‟s deconstruction theory. This article outlines the assumptions, strategies, and techniques that characterize new historicism and articulates its potential for providing 21st century answers to the classic questions of historical criticism. . The new historicism addresses an audience of theoretical adepts. New Historicism has been one of the most influential literary theories since the early 1980s. .
New Historicism is sort of the academic version of grunge. the product of a negotiation between a creator or class of creators, equipped with a complex, communally shared repertoire of conventions, and the institutions and practices of society” (“TPC,” 12). Whenever an emergent theory, movement, method, approach, or group gets labeled with the adjective “new,” trouble is bound to ensue, for what is new today is either established, old, or forgotten tomorrow. Simpson, David, “ Literary Criticism and the Return to ‘History,’” Critical Inquiry, 14 (Summer, 1988), 721 –47, here quoting page 724. The title of Brook Thomas’s The New Historicism and Other Old-Fashioned Topics (1991) is telling. It self-consciously declares itself to be the next step past deconstruction and, in doing so, assumes knowledge of deconstruction and other postmodern theo-retical developments.