irresolvable disorientation between the object and the activity of
criticism, such that cultural analysis continually and undecidably
affirms/negates its ‘other’, endlessly doing itself
violence, endlessly antagonising itself.
The chapter comprises four sections. The first raises the
question of the interdisciplinary nature of cultural analysis
/Rohmer 1 expounded a theory of the cinema’s
classicism at mid-century, praised the technical achievements of Hollywood
in the age of sound and colour, and elaborated, in contrast to
Truffaut’s sharp polemics and ad hominem attacks, a theory of film
authorship based on literary criticism and art-historical connoisseurship.
This is not the place to retell Cahiers’ conflicted internal
history, in which Rohmer played a key role as
James Baldwin might be imagined as reaching his greatest level of popularity within this current decade. With the growth of social media activist movements like Black Lives Matter, which captures and catalyzes off a Baldwinian rage, and the publishing of works directly evoking Baldwin, his voice appears more pronounced between the years of 2013 and 2015. Scholars in Baldwin studies, along with strangers who were turned into witnesses of his literary oeuvre, have contributed to this renewed interest in Baldwin, or at least have been able to sharpen the significance of the phenomenon. Publications and performances highlight Baldwin’s work and how it prefigured developments in critical race and queer theories, while also demonstrating Baldwin’s critique as both prophetic and “disturbingly” contemporary. Emerging largely from Baldwin’s timelessness in social and political discourse, and from the need to conjure a figure to demystify the absurd American landscape, these interventions in Baldwin studies follow distinct trends. This essay examines the 2013–15 trends from four vantages: an examination of a return, with revision, to popular work by Baldwin; identifying Baldwin’s work as a contributor to theoretical and critical methodology; Baldwin and intertextuality or intervocality; and a new frontier in Baldwin studies.
What is aesthetic criticism?
What is aesthetic criticism?
The etymology of the word ‘criticism’ points towards an evaluative practice.
The word is derived from the Ancient Greek word krínō, ‘to judge’, and krités,
‘a judge’ or ‘juryman’ (Wellek 1981: 298). The word ‘critic’ – kritikos – is
then derived from krités (Pearsall 1998). Over time, however, ‘criticism’
has become capacious referring to all manner of commentary and study
of texts, and as a consequence what constitutes criticism is contested1.
One outcome of the expansion
Kant and the ends of criticism
Since the beginning of the 1990s there has been a marked revival of interest in both
Kant and aesthetics.1 This revival has been accompanied with a move beyond the
theoretical positions that sought to displace the notion of aesthetics and often requires
a rethinking of the relationship between criticism and philosophy. I wish to present
here an account of Kant’s ‘invention’ of aesthetics that allows its terms to become both
operative within and yet also transformed by the practice of critical engagement with
Distance, representation and criticism
This chapter provides a link between the principal focus upon point of
view in the previous chapter, and the principal focus upon communication in the chapter to follow. To treat artworks as comprising spectrums
or axes of distance has been demonstrated, as we shall shortly see, to be
a powerful way of conceptualising how point of view works within them.
After a survey of a range of existing approaches to point of view and
distance from within and beyond film studies, I explore the handling
of point of view and distance
Competition and criticism
The Patent Company was in trouble. The big names of the Late Stuart
stage were now to be found at Lincoln’s Inn Fields rather than at Drury
Lane or Dorset Gardens and the London playgoing audience seemed
more inclined to put their hands in their pockets for the rebels.
Christopher Rich had managed to retain some senior players, notably
comedian Joe Haynes. Several players had initially shown interest in
joining the rebels but were persuaded to remain, including Susannah
Verbruggen (formerly Mrs
Harris and the criticism of the status quo
One characteristic of John Harris’s thinking is its controversial nature.
Some of Harris’s formulations and arguments can be read as strong criticisms of the status quo.
Is this a fruitful position or is it useless and possibly ‘detrimental’? In this
chapter I try to examine the role of criticism in the development of thinking and culture in general, as well as the function of intellectuals in society.
I will consider the role of philosophy and bioethics in these matters. And
finally, I will outline
It is ironic that the surest
indication of the durability of the Third Way is the continuing
attention paid to it by its critics. This collection has provided a
flavour of the range of such criticism from different disciplinary,
analytical and political perspectives. But what general conclusions
can be drawn from contributions such as
This section observes comment on and criticism of monastic life in late medieval and early Tudor England, and includes not only literature, but also the political and financial manifesto of the Lollards, and an unusual but suggestive episode from fourteenth-century Exeter.