Literary criticism is the study, evaluation, and interpretation of literature. Modern literary criticism is often informed by literary theory, which is the philosophical discussion of its methods and goals. Though the two activities are closely related, literary critics are not always, and have not always been, theorists. Whether or not literary criticism should be considered a separate field of inquiry from literary theory, or conversely from book reviewing, is a matter of some controversy. For example, the Johns Hopkins Guide to Literary Theory and Criticism[1] draws no distinction between literary theory and literary criticism, and almost always uses the terms together to describe the same concept. Some critics consider literary criticism a practical application of literary theory, because criticism always deals directly with particular literary works, while theory may be more general or abstract. Literary criticism is often published in essay or book form. Academic literary critics teach in literature departments and publish in academic journals, and more popular critics publish their criticism in broadly circulating periodicals such as the Times Literary Supplement, the New York Times Book Review, the New York Review of Books, the London Review of Books, The Nation, and The New Yorker. Related to other forms of literary criticism, the history of the book is a field of interdisciplinary inquiry drawing on the methods of bibliography, cultural history, history of literature, and media theory. Principally concerned with the production, circulation, and reception of texts and their material forms, book history seeks to connect forms of textuality with their material aspects. Among the issues within the history of literature with which book history can be seen to intersect are: the development of authorship as a profession, the formation of reading audiences, the constraints of censorship and copyright, and the economics of literary form. Today interest in literary theory and Continental philosophy coexists in university literature departments with a more conservative literary criticism of which the New Critics would probably have approved. Disagreements over the goals and methods of literary criticism, which characterized both sides taken by critics during the "rise" of theory, have declined. Many critics feel that they now have a great plurality of methods and approaches from which to choose. Some critics work largely with theoretical texts, while others read traditional literature; interest in the literary canon is still great, but many critics are also interested in minority and women's literatures, while some critics influenced by cultural studies read popular texts like comic books or pulp/genre fiction. Ecocritics have drawn connections between literature and the natural sciences. Darwinian literary studies studies literature in the context of evolutionary influences on human nature. Many literary critics also work in film criticism or media studies. Some write intellectual history; others bring the results and methods of social history to bear on reading literature. The value of literary criticism has been questioned by some prominent artists. Vladimir Nabokov argued that good readers don't read books, and particularly literary masterpieces, "for the academic purpose of indulging in generalizations".[4] Stephen J. Joyce, grandson of James Joyce, at a 1986 academic conference of Joyceans in Copenhagen, said "If my grandfather was here, he would have died laughing ... Dubliners and A Portrait of the Artist as a Young Man can be picked up, read, and enjoyed by virtually anybody without scholarly guides, theories, and intricate explanations, as can Ulysses, if you forget about all the hue and cry." And he questioned whether anything has been added to the legacy of Joyce's art by the 261 books of literary criticism stored in the Library of Congress. http://en.wikipedia.org/wiki/Book_reviewing

• published: 16 Dec 2013
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