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The traditional form of art criticism was biographical and sociological, taking into account the conceptions of the artist and the history of the traditions within which the artist worked. But in the twentieth century a different, more scientific and ahistorical form of literary criticism grew up in the United States and Britain: The New Criticism. Like the Russian Formalists and French Structuralists in the same period, the New Critics regarded what could be gleaned from the work of art alone as relevant to its assessment, but their specific position received a much-discussed philosophical defense by William Wimsatt and Monroe Beardsley in 1946. Beardsley saw the position as an extension of “The Aesthetic Point of View”; Wimsatt was a practical critic personally engaged in the new line of approach. In their essay “The Intentional Fallacy,” Wimsatt and Beardsley claimed “the design or intention of the artist is neither available nor desirable as a standard for judging the success of a work of literary art.” It was not always available, since it was often difficult to obtain, but, in any case, it was not appropriately available, according to them, unless there was evidence for it internal to the finished work of art. Wimsatt and Beardsley allowed such forms of evidence for a writer’s intentions, but would allow nothing external to the given text.
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I have tried a lot of new things in my classes I never planned on learning, like how to shoot and edit videos. UT’s communication program is so strong that I feel prepared to enter the workforce right away."