Question: What essay, written in 1919, was considered a part of the New Criticism movement?

Context articles: Hamlet and His Problems
Reading the Romance
Ghost publishing
New Criticism
Chintayami Manasa
Biographical fallacy
John Crowe Ransom
Tradition and the Individual Talent
The Frontiers of Criticism
Chicago school (literary criticism)

Hamlet and His Problems is an essay written by T.S. Eliot in 1919 that offers a critical reading of "Hamlet".
 The essay first appeared in Eliot's "The Sacred Wood: Essays on Poetry and Criticism" in 1920.
 It was later reprinted by Faber & Faber in 1932 in "Selected Essays, 1917-1932".
 Eliot's critique gained attention partly due to his claim that "Hamlet" is "most certainly an artistic failure".
 Eliot also popularised the concept of the objective correlative—a mechanism used to evoke emotion in an audience—in the essay.
 The essay is also an example of Eliot's use of what became known as new criticism.
Reading the Romance is a book by Janice Radway that analyzes the Romance novel genre using reader-response criticism, first published in 1984 and reprinted in 1991.
 The 1984 edition of the book is composed of an introduction, six chapters, and a conclusion, structured partly around Radway’s investigation of romance readers in Smithton (a pseudonym) and partly around Radway’s own criticism.
 Radway herself expresses preference for reader-response criticism throughout the course of the book, as opposed to the popular new criticism during the 1980s.
Ghost Publishing is an anonymous publishing movement.
 The basic philosophy of the movement is in part derivative of the new criticism of the early part of the twentieth century.
 The new criticism held that a work should be treated as though it were contemporary and anonymous whether it was a text by Tacitus or Hemingway.
 The Ghost Publishers take the belief one step further and hold that works of literature are most powerful when they are anonymous.
 Most texts that have come out of this movement are photocopied booklets that are distributed through one of three typical methods: the drop-off, blind mail, and piggy-backing.
 The most common is the drop-off whereby the writer simply prints his texts and drops them someplace where they are likely to be found, such as a park or a city bus.
 Blind mail is held by some to be a better method since the likelihood of being delivered is higher than in the drop-off, but some feel that most blind mail deliveries are discarded as though they were junk mail.
 Some also feel that blind mailing to unknown recipients runs the risk of appearing menacing to some recipients.
 Piggy-backing is the most controversial delivery method since there is some question as to its legality at least in some jurisdictions.
 Piggy-backing involves placing anonymous texts inside product packaging without the knowledge or approval of the manufacturer.
 Some popular items to piggy-back are cases of soft drinks, shoe boxes, and the inside pockets of sport coats.
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century.
 It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object.
 The movement derived its name from John Crowe Ransom's 1941 book "The New Criticism".
 The work of English scholar I. A. Richards, especially his "Practical Criticism" and "The Meaning of Meaning", which offered what was claimed to be an empirical scientific approach, were important to the development of New Critical methodology.
 Also very influential were the critical essays of T. S. Eliot, such as "Tradition and the Individual Talent" and "Hamlet and His Problems", in which Eliot developed his notion of the "objective correlative".
 Eliot's evaluative judgments, such as his condemnation of Milton and Shelley, his liking for the so-called metaphysical poets and his insistence that poetry must be impersonal, greatly influenced the formation of the New Critical canon.
Chintayami Manasa (Gujarati: ચિન્તયામિ મનસા ; English: Thinking Deeply ), published in 1983, is a critical work in Gujarati by Suresh Joshi.
 Joshi evaluated ideas based on European and American criticism like new criticism, semiotics linguistics-oriented criticism, modernism and postmodernism in it.
 Joshi received the Sahitya Akademi Award (1983) for it which he refused to accept.
The biographical fallacy is a term used in cultural criticism to critique the view that works of creative art, literature or music can be interpreted as reflections of the life of their authors.
 Along with the intentional fallacy, the term was introduced by exponents of the New Criticism who wished to emphasise that artworks should be interpreted and assessed as constructed artifacts rather than expressions of the emotions of specific individuals.
 The term is thus used to criticize the school of literary interpretation called Biographical criticism.
John Crowe Ransom (April 30, 1888 – July 3, 1974) was an American educator, scholar, literary critic, poet, essayist and editor.
 He is considered to be a founder of the New Criticism school of literary criticism.
 As a faculty member at Kenyon College, he was the first editor of the widely regarded "Kenyon Review".
 Highly respected as a teacher and mentor to a generation of accomplished students, he also was a prize-winning poet and essayist.
"Tradition and the Individual Talent" (1919) is an essay written by poet and literary critic T. S. Eliot.
 The essay was first published in "The Egoist" (1919) and later in Eliot's first book of criticism, "The Sacred Wood" (1920).
 The essay is also available in Eliot's "Selected Prose" and "Selected Essays"."
"The Frontiers of Criticism" is a lecture given by T. S. Eliot at the University of Minnesota in 1956.
 It was reprinted in "On Poetry and Poets", a collection of Eliot's critical essays, in 1957.
 The essay is an attempt by Eliot to define the boundaries of literary criticism: to say what does, and what does not, constitute truly "literary" criticism, as opposed to, for example, a study in history based upon a work of literature.
 The essay is significant because it represents Eliot's response to the New Critical perspective which had taken the academic study of literature by storm during Eliot's lifetime.
 It also presents an analysis of some of its author's own poetic works, an unusual characteristic for modern criticism—it has become far more usual today for poets and critics to be in separate camps, rather than united in one individual.
 Perhaps even more importantly, it demonstrates the progress and change in Eliot's own critical thought over the years between 1919 and 1956.
The Chicago School of literary criticism was a form of criticism of English literature begun at the University of Chicago in the 1930s, which lasted until the 1950s.
 It was also called Neo-Aristotelianism, due to its strong emphasis on Aristotle’s concepts of plot, character and genre.
 It was partly a reaction to New Criticism, a then highly popular form of literary criticism, which the Chicago critics accused of being too subjective and placing too much importance on irony and figurative language.
 They aimed instead for total objectivity and a strong classical basis of evidence for criticism.
 The New Critics regarded the language and poetic diction as most important, but the Chicago School considered such things merely the building material of poetry.
 Like Aristotle, they valued the structure or form of a literary work as a whole, rather than the complexities of the language.
 Despite this, the Chicago School is considered by some to be a part of the New Criticism movement.