Perhaps only with the recent theoretical developments in such fields as ecocriticism, the digital humanities, posthumanism, and elsewhere has literary theory attained the content or the form of scientific autonomy as desired by the Russian Formalists. This is not a particularly surprising development, however, as the European theoretical schools which followed the period of Russian Formalism, as well as Russian Formalism itself, drew heavily from the highly technical social sciences of linguistics and, later, anthropology.
Yet even the New Criticism, with its avowed (partially cultural) distaste for the distinctly denotative and ‘un-poetic’ nature of scientific discourse, clearly borrowed in its scrutiny—and in its testing of theoretical modes—from post-Enlightenment scientific methodologies. In fact, one may contend that scientific endeavors and theoretical philosophies share far more than either discipline readily admits, not only in methodologies but in the implications and applications of theoretical knowledge (where ‘theoretical’ here refers to the sense of the term in both the sciences and the humanities).
Taking up just one salient, demonstrative analogy, there is a curious parallel between the implications of much of the scientific understanding of genetics and those of the theoretical underpinnings of deconstruction as formulated by Jacques Derrida. Indeed, one may find that, using either Derridean deconstructive theory or genetics as a starting point, one is led down the familiar roads toward poststructural theory and cultural criticism (broadly construed).