Abstract only
Colin Gardner

exiles, it is clear that Reisz’s personal background is crucial to any understanding of his cinema, not only because of his own exile from Nazism and subsequent displacement into a foreign culture, but also, like the directors of the French New Wave, because of his graduation into film-making from the academic world of film criticism, a realm largely alien to many of the veterans of the British film industry. It would thus

in Karel Reisz
A critical blindspot
Glyn White

focused kind of representation. Literary criticism has always tended to interpret texts diegetically, either as an acknowledged fiction presented by an author, or against a particular standard of representation (e.g. the realists). In my sense mimesis is neither of these, but more closely resembles what it was for Plato: the new device, the ‘unacceptable’ imitative device for representation; the device

in Reading the graphic surface
Gerd Bayer

1 The novel and its critics Criticism of the novel begins at whatever date one picks as the birth of the novel. Published during the Restoration period around which the present study circles, Pierre-Daniel Huët’s Traité de l’origine des romans (1670) suggests itself as an inaugural text, whose importance is underlined by the fact that it quickly found its way into other European languages, seeing an English translation in 1672 and a German version in 1682. Huët set out ‘to ennoble the genre with an impeccable pedigree of Greco-Roman precedents and to diffuse

in Novel horizons
Bruce Woodcock

T HIS book has given a reading of Peter Carey’s work stressing the different aspects in the political concerns of his fiction, an approach which has so far not had widespread treatment by other critics, and indicating his critiques of multinational capitalism, the legacies of colonial history, exploitative power relationships, and sexual roles as of particular interest. While doing so, it has picked up on the main trends in Carey criticism, especially views of Carey as a fabulist or surrealist, as a post-modernist and as a post

in Peter Carey
Vincent Quinn

the stories that we tell about reading, the claims that we make on its behalf, and the ways that we think about it in relation to ourselves and society. Within this imaginary, ‘close reading’ suggests a greater-than-average level of focused observation. Clearly, there have always been attentive readers, but ‘close reading’ asserts a particular kind of a professionalised legitimacy. It emerges from broadly the same historical moment as the Leavises’ quarrel with Woolf over ‘common’ reading and, like Leavisite criticism, ‘close’ reading proclaims a ‘rigour’ and

in Reading
Margret Fetzer

Conclusion – Being Don(n)e Here where by All All Saints invoked are, ’Twere too much schisme to be singular, And ’gainst a practise generall to warre. [. . .] May therefore this be’enough to testifie My true devotion, free from flattery; He that beleeves himselfe, doth never lie. (‘A Letter to the Lady Carey, and Mrs. Essex Riche, From Amyens’, ll. 1–3, 61–3) In the field of Donne studies, there is much to learn not only about this writer’s amorous and religious desires but also about the desires latent in literary criticism. Many Donne scholars both want to be

in John Donne’s Performances
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Bordwell’s interventions
John Gibbs

7 Postscript: Bordwell’s interventions This chapter moves outside of the historical and national boundaries of this study. The article on which it focuses – ‘Widescreen Aesthetics and Mise en Scene Criticism’ by David Bordwell – was published in a North American journal, The Velvet Light Trap, in 1985.1 Nevertheless, there are a number of reasons that make it an appropriate subject for the book’s final chapter. The article is a significant example of the misrepresentation of mise-­en-­scène criticism, and this significance is amplified because the article is an

in The life of mise-en-scène
Open Access (free)
Notes on the art of the contemporary
Andrew Benjamin

terms they now need to be developed. In the process both the contemporary and the art of the contemporary will be able to figure. What will emerge is that the nature of the contemporary and the presence of contemporary art demand that the site of intervention be linked to the act of criticism. In other words, art will not be able to intervene without the assistance of criticism. While criticism can always be presented such that it reiterates the position in which difference is the work of an unending sameness, criticism cannot be equated absolutely with a presentation

in The new aestheticism
Abstract only
Literary criticism and the colonial public
Christopher Hilliard

settler colonies, teaching the literary canon could be regarded as a means of shoring up the colonists’ sense of Britishness. This chapter examines a different aspect of literary criticism’s involvement in the cultural construction of the British Empire: the application of modern critical approaches not to canonical ‘English literature’ but to the products of colonial literary cultures – usually with a

in The cultural construction of the British world
Open Access (free)
Culture, criticism, theory since 1990
Scott Brewster

9780719075636_4_002.qxd 16/2/09 9:23 AM Page 16 2 Flying high? Culture, criticism, theory since 1990 Scott Brewster Lucy McDiarmid begins her review of The Cambridge History of Irish Literature by reflecting on the upholstery of Aer Lingus seats, which features quotations from James Connolly, Yeats, Shaw, and lines from the sixteenth-century anonymous Gaelic lament for Kilcash. The quotations on the seats knit together the recurrent dynamics of Irish culture and society that have been interwoven since the twelfth century: tradition and modernity, arrival

in Irish literature since 1990