In the following essay, Szili focuses on the critical theories proposed by Ransom, Crowe, and Tate, particularly their concepts regarding poetry.

In the following essay, Robey offers an overview of New Criticism, including an explanation of the theories of I. A. Richards, as well as the development of New Criticism in England and the United States, focusing specifically on the study of poetry.

In the following essay, Asher explores the relationship between the New Critics and T. S. Eliot.

In the following essay, Graff traces various academic interpretations of New Criticism, proposing that in order to fully understand the theories espoused by New Critics, it is absolutely necessary to understand the complex cultural, educational, and historical considerations that led to the creation of this mode of literary interpretation.

In the following essay, Willingham follows the development of New Criticism from its earliest proponents in the 1930s to the later 1900s, detailing the evolution of the theory from its early days to the present, and offering a summary of the place New Criticism holds in modern literary studies.

In the following essay, Wellek defends the theories of New Criticism against its critics who dismiss it as an isolated method of interpretation that reduces the interpretation of a literary text to a science. Wellek counters these arguments, and writes that New Criticism is a method of literary study that will exist as a valid mode of study as long as scholars continue to think about the “nature and function of literature and poetry.”

In the following essay, Burt and Lewin provide brief literary histories of poets and critics such as Tate, Ransom, and Warren, as well as later New Critics such as Empson, Winters and Blackmur, evaluating their poetry in light of their theories of New Criticism.

In the following essay, Jancovich concentrates on the work of Robert Penn Warren, writing that in contrast to many interpretations of New Critical theories as bourgeois. In fact, Warren and his interest in literature and theory was closely linked to a concern with social and economic development and the poet defined the writing of literature “as a form of social engagement.”

In the following essay, Pole surveys Brooks's work on critical interpretation of poetry.

In the following essay, Perl studies the relationship between modernism and New Criticism, focusing on the use of these theories by academic institutions in both England and the United States.

In the following essay, Tassin evaluates Brooks's ideas regarding New Criticism, concluding that as a literary theory, it continues to endure.

In the following essay, Raleigh comments how New Criticism as a historical phenomena was composed of contradictions, and a great part of its success arose precisely out of this many-sidedness, which lent to the whole movement complexity and power.

In the following essay, Gerhard defines the function and place of the aesthetic object, namely the poem, in the context of New Criticism and its theories, writing that according to the New Critics, the poem or work of art must be treated as an object complete in itself. Although knowledge about both the artist and the historical circumstances under which the piece was created may aid in the understanding of a poem, these criteria do not belong in the realm of true critical inquiry.

In the following essay, Perosa describes Blackmur's theories of poetry criticism, tracing its evolution from the early tenets of New Criticism to what Perosa terms as a later “break-down” of that mode of interpretation.