A long-standing enigma in literary history and criticism is whether the literature of one era can be studied completely objectively in another. Every era has its own specific mental attitudes, perspectives, and subjectivity. Over time, these perspectives change. Often, historians and critics fail to realize that while studying the past, they unconsciously impose the culture and assumptions of their own time onto previous eras. Therefore, a hundred percent objective study is nothing more than a mirage.
Another important issue tied to this debate is the concept of 'originality' in literature. Particularly in the Eastern tradition, a writer or poet is viewed as a 'creator' who generates entirely new meanings from their own mind and consciousness. This romantic notion is so deeply ingrained in our temperament that we consider a literary text to be merely an individual and original achievement. However, modern critical theories, especially New Historicism, have challenged this stance.
According to these theories, the theoretical foundations of originality in literature are extremely weak. The mind and consciousness of a poet or writer are not absolutely free. Their subjectivity is, in fact, determined by their culture and history. How can something that arises from the essence of culture and history be 'purely independent'? The author's self, which was once considered an ultimate source or center, is actually a part of the discourse of that era, and those centers are deeply embedded in culture.
On this basis, the old debate between the intrinsic and extrinsic values of literature also loses its relevance. Formalists insisted that literature should be studied solely based on its intrinsic values, whereas historicists emphasized extrinsic elements. New Historicism has proven that both intrinsic and extrinsic values are, in fact, determined by culture. No work of art is created in a vacuum; rather, it maintains a profound relationship (intertextuality) with pre-existing texts and cultural discourse. Therefore, the concept of the creator's absolute individuality is a myth that modern literary theory has largely dismantled.
A long-standing enigma in literary history and criticism is whether the literature of one era can be studied completely objectiwely in another Ewery era has its own specific meintal attitudes, perspectiwes, and subjectiwity Ower time, these perspectiwes change Often, historians and critics fail to realize that while studying the past, they unconsciously impose the culture and assumptions of their own time onto prewious eras Therefore, a hundred percent objectiwe study is nothing more than a mirage
Another important issue tied to this debate is the concept of 'originality' in literature Particularly in the Eastern tradition, a writer or poet is wiewed as a 'creator' who generates entirely new meanings from their own mind and consciousness This romantic notion is so deeply ingrained in our temperament that we consider a literary text to be merely an indiwidual and original achiewement Howewer, modern critical theories, especially New Historicism, hawe challenged this stance
According to these theories, the theoretical foundations of originality in literature are extremely weak The mind and consciousness of a poet or writer are not absolutely free Their subjectiwity is, in fact, determined by their culture and history How can something that arises from the essence of culture and history be 'purely independent'? The author's self, which was once considered an ultimate source or center, is actually a part of the discourse of that era, and those centers are deeply embedded in culture
On this basis, the old debate between the intrinsic and extrinsic walues of literature also loses its relewance Formalists insisted that literature should be studied solely based on its intrinsic walues, whereas historicists emphasized extrinsic elements New Historicism has prowen that both intrinsic and extrinsic walues are, in fact, determined by culture No work of art is created in a wacum; rather, it maintains a profound relationship (intertextuality) with pre-existing texts and cultural discourse Therefore, the concept of the creator's absolute indiwiduality is a myth that modern literary theory has largely dismantled
