Murray Smith’s attempt to provide a naturalized aesthetics of film in Film, Art, and The Third Culture is both decidedly ambitious and wisely orchestrated. It is ambitious because of the criticism that has been leveled against naturalized
On Value Judgments
Laura T. Di Summa-Knoop
Jane Austen, Anna Barbauld and the Narratological Application of the Picturesque
This article argues that in Jane Austen's work there is an affiliation between the experience of landscape and the forms that fictional works can take. This is evident in 'Catharine, or the Bower' where an analogy is set up between the reading of a novel and travel through a picturesque landscape, a connection that is returned to in Pride and Prejudice. This affiliation can be contextualized first by reference to Austen's comments in her letters about narrative form, and then by reference to contemporary criticism of the novel, in particular that of Anna Barbauld. Barbauld overtly uses landscape for narratological purposes in her introductory essay to Samuel Richardson's Correspondence, alluding to Uvedale Price's Essay on the Picturesque to extol Richardson's formal achievements in Clarissa. Austen's views on narrative organization and on landscape design strongly resonate with Barbauld's, and both writers evoke the picturesque to provide a formalist critique of the novel.
Multimodal Extension in the Works of Aleix Saló
Javier Muñoz-Basols and Marina Massaguer Comes
multimodality with social criticism – and by having a trailer circulate in a digital media economy – Saló was able to rapidly generate interest amongst different types of audiences. Hence, this innovative combination enabled Saló to whet viewers’ curiosity with
Antisemitism is hostility to Jews as Jews, but defining antisemitism is complicated by Zionism and the existence of the State of Israel. The fundamental right to freedom of expression is threatened by the misuse of a definition of antisemitism and claimed examples of antisemitic conduct that encourage confusion between antisemitism and criticism of the policies and practices of the Israeli government and its institutions. The right to express criticism and to debate such policies and practices must not be suppressed by reliance on unsubstantiated claims of antisemitism.
Tahmineh Hooshyar Emami
-Glass, which transposes objects and events from the real social and political tableaux of Victorian Britain into a perplexing world of criticism and satire, I made use of critical storytelling in an attempt to understand the logic of the experiences en route
There has been much discussion concerning whether or not some of Sartre's views on morality may be understood as endorsing Kant's views. Perhaps the most controversial issue has been whether in various places in his corpus Sartre invokes Kant's “universalizability principle.” Indeed, Sartre's frequent use of Kantian language, including the idea of universalizability and “kingdom of ends,” strongly suggests that there is some appreciable convergence between his views and those of Kant. While it is true that Sartre borrows Kant's language and expressions, he does not, I argue, use them in the same sense as Kant does.
Patrick Colm Hogan
It is commonplace to remark that India has the largest film industry anywhere, producing “unquestionably the most-seen movies in the world” (Kabir 2001: 1). Of the many languages in which Indian movies are made, films in Hindi (or Urdu) are the most prominent globally, and they comprise the most obviously “national” cinema (Ganti 2004: 12). Indian films in general, and Hindi films in particular, have had international success for decades (Desai 2004: 40). They constitute perhaps the only national cinema that can come close to rivaling the U.S. film industry. This parallel with Hollywood has led to the popular name for the Hindi film industry, “Bollywood.” The name refers particularly to the entertainment-oriented films from the 1960s on, and of these especially the films produced since the early 1990s in the period of economic neoliberalism and globalization.
history has always exploited tropes of human abjection. But the film’s directors also seem to invite, even if in critically undeveloped ways, a reading of the film premised on what has come to be known as “abject criticism.” The concern, though, is that
Shakespeare, Fandom, and the Lure of the Alternate Universe
Kavita Mudan Finn and Jessica McCall
commonly among those who write and read it, fic ) offers an alternative form of both close reading and contextual criticism when applied to premodern writers, just as it does for contemporary media properties. 2 In a world of undead authors and readers
Julia Pascal’s The Yiddish Queen Lear
criticism of the stereotypically subservient Jewish female figure, are reflected in the fact that Esther is a popular and knowledgeable director who forcefully asks the actors auditioning for her theatre to act properly and informs them about the acting