In a review of Narration in the Fiction Film published in Film Quarterly in 1986, Sarah Kozloff complained that David Bordwell’s approach to authorship in this book was “rather misanthropic.” More specifically, her complaint was that he
Some Comments on David Bordwell’s Narration in the Fiction Film
Beliefs acquired from authoritative sources and maintained over time, tend to achieve the status of truths. As a result, though there are many possible ways of interpreting historical data, consensus beliefs are so powerful a determinant of interpretive outcomes that new interpretations of historical evidence will tend to be rare. In addition, any evidence that conflicts radically with a belief that has achieved the status of a truth will logically be dismissed. Such, historically, has been the status of the Shakespeare authorship question. Since we know who wrote the Shakespeare canon, there is no apparent point to research.
accepted as nationally representative, and their having a significant role within the native cultural context is on treating women’s literature through the relation of the gendered hierarchy of authorship. The article attempts to demonstrate how this
Fieldwork, Biography, and Authorship in Southwest China and Beyond
intervals spent between the ‘return’ visits made to the people(s) of study ( Vitebsky 2012: 180–184 ). Indeed, the researcher’s absence may lead to beguiling situations in which fieldwork friends claim a degree of authorship over his or her biography, even
Nimrod, Surtees, and the New Sporting Magazine
In the early Victorian period, sporting literature found a new audience among the young century's industrialists and prosperous merchants who, enabled by the growth of the railroads and increased access to the countryside, chose to use their increased leisure time to experience English rural life and to hobnob on equal terms, at least superficially, with the rural ancien régime. The New Sporting Magazine, established in 1831, positioned itself to speak both to the existing devotees of sport and to the middle-class audience which was about to make its presence felt in the field. The parallel refinement of English sport and its print discourse is described by and exemplified in the two best-known sport writers of the early Victorian era: Robert Smith Surtees and Charles Apperley ('Nimrod'). Surtees and Nimrod, though highly professional and well remunerated, habitually put forward their own work as 'correspondence', contributing to the illusion that the magazine was a playground for gentlemen of leisure. The careful blend of the conservative and modern in the New Sporting Magazine thus extends to its contributors as well: in this magazine's pages the eighteenth-century culture of the gentleman correspondent was beginning to merge with the culture of the paid celebrity author that would become such a force in the mass literary environment of the nineteenth century.
Telescoped Action and Characters in Q1 and Q2 Hamlet
The first quarto of Hamlet offers a fundamentally distinct play from the versions contained in the second quarto and in the First Folio. Taking Q1 as an autonomous, finished text, and assuming that Q2 and F were not only printed but also written later, this article sets out to explore Shakespeare’s conception of key characters in this first version, how it took shape, and how and why his approach changed in subsequent revisions. In particular, I will concentrate on the characterisation of both female and male characters as they appear in Q1 and Q2, trying to underline the different poses towards which they gesture and putting them against the backdrop of a narrative frame whose speed, in the case of Q1 Hamlet, seems continually to increase.
Contesting Wordsworth's fame in the life writings of Harriet Martineau and Thomas Carlyle.
In her justly influential work on nineteenth-century strategies of self representation, Subjectivities (1990), Reginia Gagnier describes the dominant characteristics of the ‘high’ literary tradition of nineteenth-century auto/biography as consisting of a meditative and self-reflective sensibility; faith in writing as a tool of self-exploration; an attempt to make sense of life as a narrative progressing in time, with a narrative typically structured upon parent/child relationships and familial development; and a belief in personal creativity, autonomy and freedom for the future.
Film authorship theory continues to evolve. The acknowledgment that film-making is a collective process has questioned the traditional romantic notion of the single-author director (Carringer 1985; Gaut 1997 ; Grodal 2004 ; Livingston 1997
The Power of Aesthetics in Women’s Cookbooks of the Belle Époque
individual performing both functions. The triggers of such radical changes in authorship and readership can be reasonably surmised by considering historical context. The Belle Époque is widely considered an unprecedented moment for spreading literacy by means
Anna Edmundson, Margo Neale, Michèle Rivet, Brett Mason, Katie Kyung, Rebecca Gibson, Alison K. Brown, Tatiana Argounova-Low, Maria Lucia de Niemeyer Matheus Loureiro, Charlotte Hyltén-Cavallius and Fredrik Svanberg
Return of the Native: Contestation, Collaboration, and Co-authorship in Museum Spaces, Australian National University, 18–19 June 2015
Access Is a Human Right: The Federation of International Human Rights Museums Conference, Te Papa, Wellington, 23–25 September 2015
Narrative Objects: The Sakha Summer Festival and Cultural Revitalization
Object, Document, and Materiality: Outline of an Ongoing Research Project
Museums Beyond Homogeneity: Museums and Diversity in Sweden