dementia to the fore as appreciating subjects rather than subjects characterized by lack or as no subjects at all. This shift of attention from cognitive capacities to crafted conditions and enacted appreciations may itself help realize the potential of
On Becoming an Appreciating Subject
This article explores basic constraints on the nature and appreciation of cinematic adaptations. An adaptation, it is argued, is a work that has been intentionally based on a source work and that faithfully and overtly imitates many of this source's characteristic features, while diverging from it in other respects. Comparisons between an adaptation and its source(s) are essential to the appreciation of adaptations as such. In spite of many adaptation theorists' claims to the contrary, some of the comparisons essential to the appreciation of adaptations as such pertain to various kinds of fidelity and to the ways in which similar types of artistic goals and problems are taken up in an adaptation and its source(s).
Marcus B. Weaver-Hightower
In this short personal appreciation of The Men and the Boys, the author admires the ethnographic and writing skills Raewyn Connell displays—the craft and artistry that animates her insightful theories. From her prose's clarity to the deftness of her interviewing, Connell models how to empirically ground foundational social theory.
Value-Maximizing Interpretations of Withnail and I
In this article, I want to consider two interpretations of the film Withnail and I (Bruce Robinson, 1987), one according to which the title character is a rogue and the other according to which he is a lover. I argue that both interpretations are supported by the text and note that, insofar as an intentionalist approach to interpretation is adopted, the interpretation according to which Withnail is a rogue is correct. Nevertheless, I argue that it is a better film—both morally and aesthetically—on the latter interpretation and, hence, that if one adopts a value-maximizing approach to interpretation, one ought to accept this interpretation. Finally, I argue that insofar as viewers are interested in getting other people to admire the film, they ought to adopt the value-maximizing approach and, as a result, endorse the interpretation according to which Withnail is a lover.
Headless Lines and Initial Inversion in Chaucer
This article examines Chaucer’s use of headless lines and initial inversion in both his short-line verse and his long-line verse, and compares Chaucer’s use of these metrical licences with that of earlier and later English poets. It shows that in Chaucer’s short-line verse headless lines are much more common than is initial inversion, while the exact opposite is true for Chaucer’s iambic pentameter. Analysing the contexts in which these metrical licences occur, I argue that Chaucer (and his predecessors) used them very deliberately, not only for emphasis and rhetorical effect but also to clarify narrative and syntactical organization. Of particular interest is the use of these devices in the context of non-indicative moods, lists and catalogues, direct speeches and changes of addressee, transitions between narrative sections, and enjambement.
Lindsay M. Pettingill
Mary Fulbrook, ed., Power and Society in the GDR 1961-1979: The ‘Normalisation of Rule’ (New York: Berghahn Books, 2009)
Jan Palmowski, Inventing a Socialist Nation: Heimat and the Politics of Everyday Life in the GDR 1945-1990 (Cambridge: Cambridge University Press, 2009)
Esther von Richthofen, Bringing Culture to the Masses: Control, Compromise and Participation in the GDR (New York: Berghahn Books, 2009)
Gabriela Kiliánová, Rūta Muktupāvela, Philip McDermott, Marion Demossier, Alessandro Testa, Alastair McIntosh, and Thomas M. Wilson
The success of an academic journal depends on many factors. Let us, however, only mention two of them: its high-quality editing and its continuity. The Anthropological Journal of European Cultures is prosperous because it fulfils both of these criteria. This means it has been published periodically, nonstop for nearly three decades under the supervision of editors with significant dedication to the journal.
Mary Beth Oliver and Tilo Hartmann
This article extends current theorizing in media psychology on audience responses to cinema by examining individuals' perceptions of meaningfulness. Specifically, it presents the results of a study designed to expand upon research on psychological and subjective well-being to experiences and memories of films that are perceived as particularly meaningful by viewers. Characteristics and themes of such films are examined and identified, as well as the specific emotional responses that accompany perceptions of meaningful cinema.
The idea that the study of form is fundamental in the appreciation and evaluation of works of art has a long history in philosophical aesthetics. Aestheticians, even without explicitly embracing a formalist theory, often turn their attention to
The Editors wish to express their appreciation to the following individuals who assisted the refereeing process for 2006.