Open Access (free)
The ‘outside’ in poetry in the 1980s and 1990s
Linden Peach

6 Paper margins: the ‘outside’ in poetry in the 1980s and 1990s LINDEN PEACH Poetry emanating from what a few decades ago would have been deemed ‘the margins’ has become the major focus of publishing houses, journals and criticism, the latter evident in two recent collections of essays: Poetry in the British Isles: Non-Metropolitan Perspectives (Ludwig and Fietz 1995) and Contemporary British Poetry: Essays in Theory and Criticism (Acheson and Huk 1996). I say ‘were deemed’ because, as Terry Eagleton has observed, the marginal has become ‘somehow central’ (1989

in Across the margins
The film criticism of Jacques Rivette
Douglas Morrey and Alison Smith

over what Marc Cerisuelo calls ‘les idées que chacun porte en soi à la sortie d’une salle de cinéma’ 1 (Cerisuelo 1998 : 11). In other words, Rivette changed the way that we, as spectators, think about cinema, at least in France where the Cahiers critics transformed the face of film criticism, and, given the subsequent dissemination of these ideas with the growth of film studies, doubtless in the rest of the western

in Jacques Rivette
Don Randall

9 Critical overview and conclusion Scholarly criticism of Malouf’s work began in the later 1970s following the publication of the award-winning poetry collection Neighbours in a Thicket in 1974 and of Johnno in 1975. The pace of critical publication increased appreciably by the mid1980s, when notable articles by such as Martin Leer, Laurie Hergenhan, Maryanne Dever, and Patrick Buckridge began to appear. An Imaginary Life claimed the lion’s share of attention until the mid-1990s when Remembering Babylon became, and subsequently has remained, the main topic

in David Malouf
Cosmopolitanism and cultural mediation in aesthetic criticism
Stefano Evangelista

Swinburne’s critical reception has, understandably, largely focused on the poetry, but criticism played a crucial if overlooked role in establishing his early reputation. 1 Swinburne is the author of an extensive prose output that ranges from reviews of English and French authors to literary criticism, art criticism, and polemical writings; among his most notable achievements are the public

in Algernon Charles Swinburne
Abstract only
Tradition, translation,and the global market for Native American literatures
David Stirrup

As the span of this book hopefully suggests, Erdrich’s career thus far has been both distinguished and varied. The prolific nature of her output, and the variety of modes in which she writes, make a comprehensive overview of her achievement difficult and, inevitably, reductive. It is clear, to this author at least, that serious critical studies of Erdrich’s later books – particularly Master Butcher and The Plague of Doves , both especially rich, dense texts – are now needed to complement the abundant archive of criticism on the

in Louise Erdrich
The Story So Far and Some New Suggestions
Patsy Stoneman

chap 1 20/7/06 9:40 am Page 1 1 Reading Elizabeth Gaskell: The Story So Far and Some New Suggestions feminist literary criticism . . . present[s us] with a radical alteration of our vision, a demand that we see meaning in what has hitherto been empty space. The orthodox plot recedes, and another plot, hitherto submerged in the anonymity of the background, stands out in bold relief like a thumbprint. (Elaine Showalter, 1975: 435) Some Victorian women’s novels, like Jane Eyre, have been a major inspiration to the current women’s movement (Showalter, 1984

in Elizabeth Gaskell
Linda Connolly

’ interpretation of Irish history and society, past and present.1 Debates about the distinctiveness of Ireland (in particular, the historical trajectory and cultural politics of Ireland) and the Irish formed a very prominent binary conflict between two intellectual categories – revisionists and nationalists – in two particular disciplines – history and literary criticism. This chapter will outline some of the complex debates and transformations that have since taken place in the field of Irish studies, and will explore some of the ways 4147 Inglis–Are the Irish different

in Are the Irish different?
John Gibbs

3 ‘Pistols for three, coffee for one’: the battle of form and content, circa 1960 Film criticism in Britain is dead. Hardly a single piece of perceptive criticism has been written here in the last few years. Indeed, it is sometimes difficult to believe that British criticism has ever been alive. Perhaps in the good old days of ‘Sequence’… .1 These are the first lines of the Film section of the relaunched Oxford Opinion, published on 30 April 1960. Ian Cameron’s editorial is accompanied by an attack on a BFI publication, Fifty Famous Films 1915–45, an article

in The life of mise-en-scène
John Gibbs

articles; the fifth issue is dedicated to Hawks. Early Movie also published substantial interviews with directors, including: Minnelli, Varda, Preminger, Hawks, Hitchcock, Tashlin, Bresson, Leacock, Aldrich, Chabrol and King Vidor. In this period there are two round-­table discussions, one on Fleischer’s Barabbas in the first issue, and a second on Movie criticism in the eighth. The first eleven issues also include a small number of general articles, such as ‘The British Cinema’ in the opening issue and ‘Films, Directors, Critics’ in the second. Among the subjects

in The life of mise-en-scène
Abstract only
John Gibbs

Conclusion We leave mise-­en-­scène criticism at a perilous point in its history, hemmed in by two movements which have shaped the field in the intervening period, the generalising statements of theory on one side and a prosaic poetics on the other. Between the writing explored in previous pages and the present day much has happened, of course: the international and cross-­disciplinary impact of a variety of forms of film theory, the work of Cavell, Wilson and Rothman at the border between philosophy and detailed criticism, the massive development of the study

in The life of mise-en-scène