The history of literary criticism, particularly any attempt to draw a map of the present situation, cannot quite do without labels in order to characterize theoretical positions, groups, and camps. of these labels that suddenly emerged in the critical discourse during the 1980s is that of the New History or, more properly, the New Historicism. The New Historicism has been referred to as a new movement or position that would replace the old historicism but also, and more important, supersede the prominent critical positions of the 1970s, notably deconstructionism and Marxism. Its proponents, among them Stephen Greenblatt and Louis Montrose, have hailed the New Historicism as a methodological Kehre steering literary criticism away from the formalism of the deconstructive approach and the positivism of the old historicism. Its critics have charged the New History with theoretical eclecticism that will ultimately lead to a position that is rather close to traditional historicism. Among the critical voices is that of Dominick LaCapra, who discusses the New Historians as a minor movement of small consequence. In Soundings in Critical Theory he argues that the New Historians tend to share much of the problems of traditional historicism, for instance, a flair for overcontextualization and theoretical relativism. There is a tendency to extend Clifford Geertz' valuable stress upon 'thick description' into the indiscriminate, unqualified rule: the thicker the description, the better.' To this LaCapra adds the somewhat unflattering statement: One may
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