These comments concern Bordwell’s explicit and implicit claims about cinematic authorship in his 1985 Narration in the Fiction Film. Distinctions are drawn between causal and attributionist conceptions of authorship, and between actualist and fictionalist views about the spectator’s attitude toward authorship. A key question concerns the autonomy or independence of a viewer’s competent uptake of story and narration, as opposed to its dependence on knowledge of authorship or authorial design. The example of cinematic quotation in Resnais’s Mon oncle d’Amérique is used to illustrate the pertinence of the latter option.
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.
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.
This article focuses on Bulgarian women writers’ activities, their reception, and their problematic existence in the context of the modernizing and emancipatory trends in Bulgarian society after the Liberation (1878–1944). The analysis is based on the concept of the (intellectual) hierarchy of genders and mechanisms of gender tutelage, traced in the specifics of women’s literary texts, their critical and public resonance, and the authors’ complicated relation with the Bulgarian literary canon. The question is topical, given the noticeable absence of women writers in the corpus of Bulgarian authors/ literary texts, thought and among those considered representative in terms of national identity and culture. The study is based on primary source materials such as works by Bulgarian women writers, the periodical press from the period, various archival materials, and scholarly publications relevant to the topic.
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.
Fieldwork, Biography, and Authorship in Southwest China and Beyond
This article is an exploration into how a distinct fascination with the study of religion traverses the biographies of researchers who, through fieldwork, episodically enter into the life-worlds of the peoples they study. In it, I offer up ethnographic and autoethnographic reflections on the experiential crossroads and personal biographies that are perhaps as constitutive of religion as they are of the persons who study it. Through a discussion of interconnected events that arose during and outside of my anthropological fieldwork among the Nuosu, a Tibeto-Burman group of Southwest China, I highlight how Nuosu claims to authoring my biography have brought their animistic religion and culture, as well as its international import, further into focus for myself, local scholars, and rural Nuosu persons. My argument pivots around the idea that fieldwork-based researchers and their interlocutors often appropriate each other’s biographies in rather cosmic ways, thus revealing the historically, socially, and personally contingent qualities that are involved in studies of religion.
Can the authorial contribution of the individual cinematographer to classical, narrative-based film be identified and attributed? This article addresses this specific question, but the specific case of the cinematographer must acknowledge the wider debates about film authorship. The article examines contemporary attitudes to coauthorship in film, highlighting the fact that, in terms of cinematography, most commentators still defer to directors when discussing the creation of meaning within images. While examining the works of Gregg Toland and William Wyler, the article evaluates authorial attribution by means of a comparison between the films they made together and the films they made separately. In order to do this, the article defines a method for establishing authorship within the film image. Toland is a prime historical example of a cinematographer whose authorial contribution has been severely underestimated in the pursuit of glorifying the directors he worked with (Orson Welles, John Ford, and William Wyler).
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
Among the rich Hebrew holdings of the British Library there exists a small cluster of thirty-eight Judeo-Spanish handwritten texts, the majority of which date from between the seventeenth and nineteenth centuries. To the best of our knowledge, none of these manuscripts, except one, has been the topic of scholarly investigation or in-depth research. Intended at raising scholars' and specialists' awareness of this important, yet barely known literary resource, this article outlines the manuscripts' principal characteristics, such as subject matter and authorship, as well as origins (i.e. place of completion) and provenance. An inventory of all the relevant manuscripts is appended to the article.