Formalist vs Structuralist

Formalism is a school of literary criticism and literary theory having mainly to do with structural purposes of a particular text.

Formalism rose to prominence in the early twentieth century as a reaction against Romanticist theories of literature, which centered on the artist and individual creative genius, and instead placed the text itself back into the spotlight, to show how the text was indebted to forms and other works that had preceded it. Two schools of formalist literary criticism developed, Russian formalism, and soon after Anglo-American New Criticism. Formalism was the dominant mode of academic literary study in the US at least from the end of the Second World War through the 1970s, especially as embodied in René Wellek and Austin Warren's Theory of Literature (1948, 1955, 1962).

Structural linguistics is an approach to linguistics originating from the work of Swiss linguist Ferdinand de Saussure. De Saussure's Course in General Linguistics, published posthumously in 1916, stressed examining language as a static system of interconnected units.

Structural linguistics are now overwhelmingly regarded by professional linguists as outdated and as superseded by developments such as cognitive linguistics and generative grammar

The foundation of structural linguistics is the idea that the identity of a sign is determined by its existence in a state of contrast with other signs that is either syntagmatic or paradigmatic. This idea contrasted drastically with the idea that signs can be examined in isolation from a language and stressed Saussure's point that linguistics must treat language synchronically.

Paradigmatic relations are sets of units that exist in the mind, such as the phonological set cat, bat, hat, mat, fat, or the morphological set ran, run, running. The units of a set must have something in common with one another, but they must contrast too, otherwise they could not be distinguished from each other and would collapse into a single unit, which could not constitute a set on its own, since a set always consists of more than one unit.

Syntagmatic relations are temporal and consist of a row of units that contrast with one another, like "the man hit the ball" or "the ball was hit by the man". What units can be used in each part of the row is determined by the units that surround them. There is therefore an interweaving effect between syntagmatic and paradigmatic relations.

Formalism	Structuralism
Refers to critical approaches that analyze, interpret, or evaluate the inherent features of a text. These features include not only grammar and syntax but also literary devices such as meter and tropes. The formalist approach reduces the importance of a text’s historical, biographical, and cultural context.	Structural linguistics thus involves collecting a corpus of utterances and then attempting to classify all of the elements of the corpus at their different linguistic levels: the phonemes, morphemes, lexical categories, noun phrases, verb phrases, and sentence types

New Criticism is an approach to literature which was developed by a group of American critics, most of whom taught at southern universities during the years following the first World War. The New Critics wanted to avoid impressionistic criticism , which risked being shallow and arbitrary, and social/ historical approaches which might easily be subsumed by other disciplines. Thus, they attempted to systematize the study of literature, to develop an approach which was centered on the rigorous study of the text itself. They were given their name by John Crowe Ransom, who describes the new American formalists inThe New Criticism (1941).


New Critical formalism
New Criticism is distinctly formalist in character. It stresses close attention to the internal characteristics of the text itself, and it discourages the use of external evidence to explain the work. The method of New Criticism is foremost a close reading, concentrating on such formal aspects as rhythm, meter, theme, imagery, metaphor, etc. The interpretation of a text shows that these aspects serve to support the structure of meaning within the text.
The aesthetic qualities praised by the New Critics were largely inherited from the critical writings of Samuel Taylor Coleridge. Coleridge was the first to elaborate on a concept of the poem as a unified, organic whole which reconciled its internal conflicts and achieved some final balance or harmony.


In The Well-Wrought Urn (1947), Cleanth Brooks integrates these considerations into the New Critical approach. In interpreting canonical works of poetry, Brooks constantly analyzes the devices with which they set up opposing these and then resolve them. Through the use of "ironic contrast" and "ambivalence" , the poet is able to create internal paradoxes which are always resolved. Under close New Critical analysis, the poem is shown to be a hierarchical structure of meaning, of which one correct reading can be given .


The heresy of paraphrase
Although the New Critics do not assert that the meaning of a poem is inconsequential, they reject approaches which view the poem as an attempt at representing the "real world." They justify the avoidance of discussion of a poem's content through the doctrine of the "Heresy of Paraphrase," which is also described in The Well-Wrought Urn. Brooks asserts that the meaning of a poem is complex and precise, and that any attempt to paraphrase it inevitably distorts or reduces it. Thus, any attempt to say what a poem means is heretical, because it is an insult to the integrity of the complex structure of meaning within the work.


The intentional and affective fallacies
In The Verbal Icon (1954), William Wimsatt and Monroe Beardsley describe two other fallacies which are encountered in the study of literature .


The "Intentional Fallacy" is the mistake of attempting to understand the author's intentions when interpreting a literary work. Such an approach is fallacious because the meaning of a work should be contained solely within the work itself, and attempts to understand the author's intention violate the autonomy of the work.
The "Affective Fallacy" is the mistake of equating a work with its emotional effects upon an audience. The new critics believed that a text should not have to be understood relative to the responses of its readers; its merit (and meaning) must be inherent.


The New Critics' preference for poetry
The New Critics privileged poetry over other forms of literary expression because the saw the poem as the purest exemplification of the literary values which they upheld. However, the techniques of close reading and structural analysis of texts have also been applied to fiction, drama, and other literary forms. These techniques remain the dominant critical approach in many modern literature courses.


Possible critiques and responses
Because New Criticism is such a rigid and structured program for the study of literature, it is open to criticism on many fronts. First, in its insistence on excluding external evidence, New Criticism disqualifies many possibly fruitful perspectives for understanding texts, such as historicism, psychoanalysis, and Marxism. Since New Criticism aims at finding one "correct" reading, it also ignores the ambiguity of language and the active nature of the perception of meaning described by poststructuralists. Finally, it can even be perceived as elitist, because it excludes those readers who lack the background for arriving at the "correct" interpretation.
However, defenders of New Criticism might remind us that this approach is meant to deal with the poem on its own terms. While New Criticism may not offer us a wide range of perspectives on texts, it does attempt to deal with the text as a work of literary art and nothing else.

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