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New Historicism is a school of literary theory which first developed in the 1980s, primarily through the work of the critic and Harvard English Professor Stephen Greenblatt, and gained widespread influence in the 1990s.〔David Mikics, ed. ''A New Handbook of Literary Terms'', 2007, ''s.v.'' "New historicism".〕 New Historicists aim simultaneously to understand the work through its cultural context and to understand intellectual history through literature, which follows the 1950s discipline of history of Ideas and refers to itself as a form of "Cultural Poetics." H. Aram Veeser, introducing an anthology of essays, ''The New Historicism'' (1989), noted some key assumptions that continually reappear in New Historicist discourse; they were: *that every human action is actually the effect of a network of material practices; *that every act of unmasking, critique and opposition uses the tools it condemns and risks falling prey to the practice it exposes; *that literary and non-literary "texts" are equally valuable; *that no discourse (imaginative, scientific, or archival) gives access to unchanging truths, nor expresses unalterable human nature; *that a critical method and a language adequate to describe culture under capitalism participate in the economy they describe.〔Veeser, ed. ''The New Historicism'', (Routledge, Chapman and Hall) 1989, "Introduction", p. xi. Nineteen essays by contributors.〕 ==The study== "Sub-literary" texts and uninspired non-literary texts all came to be read as documents of historical discourse, side-by-side with the "great works of literature". A typical focus of New Historicist critics, led by Stephen Orgel, has been on understanding Shakespeare less as an autonomous great author in the modern sense than as a means of reconstructing the cultural milieu Renaissance theatre—a collaborative and largely anonymous free-for-all—and the complex social politics of the time.〔An "ancestor" of the New Historicism noted in Mikics is C.L. Barber's ''Shakespeare's Festive Comedy'' (1959), which set the comedies against a contemporary cultural background of popular traditions like the "lord of misrule", where authority was inverted, transgressed and burlesqued.〕 In this sense, Shakespeare's plays are seen as inseparable from the context in which he wrote. See contextualism, thick description. Influential historians behind the eruption of the New Historicism are Lynn Hunt and Michel Foucault, as they both taught at UC-Berkeley during its rise as a postmodern approach to history. In this shift of focus, a comparison can be made with the best discussions of works of decorative arts. Unlike fine arts, which had been discussed in purely formal terms, comparable to the literary New Criticism, under the influences of Bernard Berenson and Ernst Gombrich, nuanced discussion of the arts of design since the 1970s have been set within social and intellectual contexts, taking account of fluctuations in luxury trades, the availability of design prototypes to local craftsmen, the cultural horizons of the patron, and economic considerations—"the limits of the possible" in economic historian Fernand Braudel's famous phrase. An outstanding pioneer example of such a contextualized study was Peter Thornton's monograph '' Seventeenth-Century Interior Decoration in England, France and Holland'' (1978). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「new historicism」の詳細全文を読む スポンサード リンク
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