The rhetoric of theory is always in a bind. It pronounces ideas and denounces failures to accept or grasp them while insisting that there are no grounds either for accepting or grasping ideas.

I myself always want to talk about "poetry," not "the poem."

Both the 18th and the early 20th centuries, however, feature brilliant attacks on originality, and it's no doubt one of the hallmarks of romanticism to care about originality and suppose with a sometimes naive spontaneity that it's all that matters.

Criticism is concerned with evaluation. There may be evaluative principles implicit in this or that form of theory, but theory in and of itself is not prescriptive.

The mantra of the new historicists was "we have betrayed ourselves." Since their emergence, there have been more or less interesting paradigm shifts having mainly to do with Habermas and the increased focus on media studies, but the talismanic word has never ceased to be "history."

I'm not only a romanticist but a romantic myself. I take it for granted the originality matters.

I make a distinction between theory and methodology, the latter being the practical deployment of a premise. Theory on the contrary may well be applied, hence becomes methodology without a hitch, but isn't necessarily practical at all.