Can naturalized aesthetics contribute to the evaluation of a work? In this article, I consider three ways in which naturalized aesthetics may inform critical evaluation. First, I analyze the role of naturalized aesthetic analysis in the formation of the creative choices made by filmmakers. Second, I assess the relationship between the analysis of empathy provided by Murray Smith’s Film, Art, and the Third Culture and the expression of moral evaluations. And third, I outline what I take to be naturalized aesthetics’ promising potential contribution to the study of genre and contra-standard features. In the concluding section, I instead introduce what I take to be two rather serious difficulties to a cooperation between criticism and naturalized aesthetics.
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.
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.
Multimodal Extension in the Works of Aleix Saló
Javier Muñoz-Basols and Marina Massaguer Comes
Numerous authors of comics and graphic novels have used the economic crisis in the Iberian Peninsula as a narrative frame for social criticism. Prominent amongst them is the Catalan cartoonist Aleix Saló, who burst onto the comics scene with his animated YouTube video Españistán, a book trailer for his graphic novel Españistán: Este país se va a la mierda [Españistán: This country is going to hell] (2011). This article shows how Saló offers a humorous and didactic portrait of the devastating effects of the economic crisis: he does this through multimodality (using specific shapes, colours, fonts and components of orality) and through creating ‘multimodal extensions’, intertextual relations between published books and book trailers. This analysis presents a case study of the multimodal techniques that authors use to shape and develop their work in the context of the powerful relationship between text and image in the digital age.
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.
Tahmineh Hooshyar Emami
“Exploring in-betweenness” is the name of a collection of experiments that originate from my background in Architecture, overlapped with an interest in actual and perceived spaces of refuge. The result is a two-part experiment in which firstly, creative writing and literary analysis were used as vehicles to criticize and suggest alternative hierarchical arrangements of space, and secondly, the experiment which constitutes the topic of this article, where the actual and constructed dialogues between words and buildings are further explored. The author as both an insider and an observer aims to explore the relationship between space, lived experiences and sociological narratives. In “Literary Spatialities,” critical spatial writing is used to position the reader as the author through reflective passages and visual reconstructions to explore border encounters between refugee and host communities.
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.
Doing Ritual While Thinking about It?
dynamics in question derive from the ritual process itself and may be understood as enacting underexplored aspects of inner reflexivity. It thus aims, in particular, to mitigate the persistent tendency to relegate criticism toward ritual activity to
Nicholas Harrison, Postcolonial Criticism. Cambridge: Polity, 2003, 221 pp. ISBN 0-7456-2182-1 Review by Ian Birchall
Ingrid Galster, Le Théâtre de Jean-Paul Sartre devant ses premiers critiques. Paris: L’Harmattan, 2001. 394 pp. ISBN 2-7475-0715-7.
Ruth Bettina Birn
In response to my review of his book, Hitler’s Willing Executions, Daniel Goldhagen suggests, in the Fall 1997 issue of German Politics and Society (GPS), that I was unduly critical. His failure to address my main criticisms, and his abusive language interspersed with invectives and ad hominem attacks make replying to his article quite complicated. As I consider this style entirely inappropriate in a scholarly debate, I have restricted my response to his factual criticisms.