“Everything Has a Schedule”

2015 ◽  
Author(s):  
Jesse Zuba
Keyword(s):  
John Ashbery ◽  
Critical Response

This chapter offers an interpretation of one of the most remarkable debut collections ever selected for the Yale Series of Younger Poets award—Some Trees by John Ashbery. The reputation of the book as an unconventional debut has dominated the critical response to it, from the early, largely negative judgments by critics such as William Arrowsmith and Donald Hall, to more recent attempts to revalue it by Marjorie Perloff, Vernon Shetley, David Lehman, and others. The chapter argues that Some Trees has been misread both by its detractors and defenders, who tend to stress the ways in which the poems resist interpretation while ignoring many of the ways in which they encourage and support it.

Architecture after Drafting

2012 ◽  
Vol 3 (1) ◽  
pp. 119-134
Author(s):  
Keller Sean
Keyword(s):  
Dominant Role ◽  
Recent Argument ◽  
Critical Response ◽  
Computational Representations

"In den letzten zwei Jahrzehnten wurde die Dominanz des Zeichnens für die Architektur von einer ganzen Reihe von digitalen Repräsentationstechniken verdrängt. Der Beitrag stellt eine kritische Antwort auf Mario Carpos These dar, dieser Wandel bringe Architektur zu einer »autographischen« Praxis zurück, die noch vor die Renaissance zurückreiche. Demgegenüber argumentiert der Beitrag, dass Architektur nach dem Modell von Rosalind Kraus als post-medium art (»postmediale Kunst«) gedacht werden sollte. </br></br>Over the last two decades drawing has been displaced from its dominant role in architecture by a range of computational representations. This article offers a critical response to Mario Carpo's recent argument that this shift returns architecture to an 〉autographic〈 mode of practice not seen since before the Renaissance. In contrast, I suggest that architecture today should be thought of through Rosalind Krauss's model of a post-medium art. "

SOME TREES, 1947 – 1949: JOHN ASHBERY AT HARVARD

2017 ◽  
Vol 105 (2) ◽  
pp. 34-54
Author(s):  
Karin Roffman
Keyword(s):  
John Ashbery

scholarly journals Effective Elements for Workplace Responses to Critical Incidents and Suicide: A Rapid Review

2021 ◽  
Vol 18 (9) ◽  
pp. 4821
Author(s):  
Tania Pearce ◽  
Lyndal Bugeja ◽  
Sarah Wayland ◽  
Myfanwy Maple
Keyword(s):  
Critical Incidents ◽  
Grey Literature ◽  
Rapid Review ◽  
Evidence Based ◽  
Study Quality ◽  
Training Module ◽  
Critical Response ◽  
Response Training ◽  
Academic Search ◽  
And Training

Despite high rates of critical incidents (CIs) in working class occupations, there is a significant gap in our understanding of responses to these events. In this study, we aimed to inform a response training module by synthesising the key elements of pre-, during- and post-incident responses to CIs and suicide in the workplace. A rapid review identified studies on responses to CIs or suicide deaths in the workplace published between January 2015 and June 2020. A systematic search of six databases (Medline, CINAHL, PsycINFO, Sociology Collection, Academic Search and Business Search Complete) and grey literature was performed. Studies were excluded if the focus was on non-colleagues. Two reviewers independently conducted record screening, a review of the full text and assessed study quality. The existing evidence was synthesised and interventions were categorised using Haddon’s Matrix. Five studies were included, reporting on CIs across a range of workplace settings, including railways, factories, police and military, along with external critical response units. Overall, study quality was assessed as being poor. Most of the evidence focused on the pre-incident and post-incident stage. There is little evidence on responses to CIs in the workplace. Evidence-based education and training is necessary to establish organisational responses to assist with supporting workers exposed to workplace CIs.

Paradoxes of democracy: Rousseau and Hegel on democratic deliberation

2021 ◽  
pp. 019145372199070
Author(s):  
Lorenzo Rustighi
Keyword(s):  
Social Contract ◽  
Relevant Literature ◽  
Executive Power ◽  
Democratic Participation ◽  
Democratic Deliberation ◽  
Pluralistic Society ◽  
Critical Response ◽  
The Social ◽  
The Republic ◽  
Deliberative Processes

In this article, I engage with what relevant literature addresses as the ‘paradox of democracy’ and trace it back to the dialectic between authorization and representation established by social contract theories. To make my argument, I take Rousseau’s Social Contract as a paradigmatic example of the paradox and analyse it in light of Hegel’s critical response. My aim is to show that, although Rousseau rejects the idea of representing the popular will, representation resurfaces in his Republic from top to bottom and engenders a structural opposition between citizens and rulers: drawing on the Hegelian scrutiny of contractarianism, I focus on three key moments in Rousseau’s theory, namely the Lawgiver, the majority rule and the executive power. After illustrating how the social contract undermines democratic participation in deliberative processes, I suggest that Hegel’s philosophy of right overcomes the paradox by positively assuming it as a dialectical contradiction that requires a specific constitutional approach to democracy. In this sense, I argue, the Hegelian perspective on democratic deliberation helps us to better frame Rousseau’s ambition to conceive the Republic as a free community of equals and urges us to elaborate a more coherent understanding of participation in a pluralistic society.

Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

2014 ◽  
Vol 26 (3) ◽  
pp. 271-287
Author(s):  
Amanda Eubanks Winkler
Keyword(s):  
Cultural Context ◽  
The Political ◽  
Government Subsidy ◽  
Critical Response ◽  
Elite Culture ◽  
Art Form ◽  
The Government ◽  
Reagan Era ◽  
Political Economic ◽  
The Relationship

AbstractThis article analyses the complicated and conflicted critical response to Andrew Lloyd Webber’sThe Phantom of the Operawithin the political, economic and cultural context of the Thatcher/Reagan era. British critics writing for Conservative-leaning broadsheets and tabloids took nationalist pride in Lloyd Webber’s commercial success, while others on both sides of the Atlantic claimed thatPhantomwas tasteless and crassly commercial, a musical manifestation of a new Gilded Age. Broader issues regarding the relationship between the government and ‘elite’ culture also affected the critical response. For some,Phantomforged a path for a new kind of populist opera that could survive and thrive without government subsidy, while less sympathetic critics heardPhantom’s ‘puerile’ operatics as sophomoric jibes against an art form they esteemed.

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