Abstract
It is no exaggeration to say that new historicism has become the dominant mode of literary criticism in the Anglophone world since its emergence in the 1980s. Associated in particular with criticism of the early modern and romantic periods and the nineteenth century, some of the central tenets of the new historicist enterprise have seeped into criticism that would not necessarily identify itself directly with the movement. Inevitably, the force of its newness has dissipated into a retrenchment of older forms of historicism. While this mode of criticism in the forms in which it initially emerged does seem to be waning and there have been several announcements of its “death” its impact continues to be felt throughout Anglophone literary studies, and is also to be seen in disciplines such as art history and history.
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