Hypotheses and Their Transformation: Critical Tradition and the Pressure of the Poem

2021 ◽  
pp. 73-130
Author(s):  
Ralph Cohen
Keyword(s):  
Critical Tradition

Introduction

2018 ◽  
Author(s):  
Peter Lurie
Keyword(s):  
American Art ◽  
Stanley Kubrick ◽  
Critical Tradition ◽  
Art And Culture ◽  
Benito Cereno

This introduction orients this book’s argument surrounding history’s visibility. It points to a tradition of visualizing history initiated by D. W. Griffith’s infamous Birth of a Nation and suggests links between it and a later critical tradition of falsely presuming history’s accessibility. It takes up recent challenges to politicized cultural scholarship and identifies the book’s investment in examining the terms on which so-called American art and culture have been defined. Edgar Allan Poe’s Pym and Herman Melville’s “Benito Cereno” offer templates for the later discussions of writers’ and filmmakers’ choice to eschew direct representations of history. It links these moves to New Formalist methodology and places the study’s approach within this field, describing the book’s moves from treating modernist writers to discussing the postmodern cinema of Stanley Kubrick and the Coen brothers. It takes up a tenet of modernist scholarship that questions notions of a putatively transcendent, disembodied subject.

The Baroque as Anti-Classicism: The French Case

2019 ◽  
pp. 622-641
Author(s):  
Larry F. Norman
Keyword(s):  
Comparative Literature ◽  
World War Ii ◽  
Seventeenth Century ◽  
Cultural History ◽  
Cultural Evolution ◽  
World War ◽  
Louis Xiv ◽  
Critical Tradition ◽  
Counter Reformation ◽  
French Case

This chapter examines the rising mid-twentieth-century attention to the Baroque as a challenge to “French Classicism.” The concept of the literary Baroque faced strong opposition in France, where it undermined a critical tradition that isolated the “Age of Louis XIV” from European-wide currents. After World War II, the transnational Baroque provided a model for a more cosmopolitan view of the seventeenth century. Its integration into French literary and cultural history, however, reverses established paradigms of cultural evolution and periodization according to which Renaissance Classicism is followed by Counter-Reformation Baroque. This development also raises questions concerning the intellectual and ideological underpinning of the Baroque, including its relation to monarchy and Cartesian modernity. Authors examined include foundational figures of comparative literature (Erich Auerbach, E. R. Curtius, Leo Spitzer, René Wellek), art critics and historians (Eugenio d’Ors, Arnold Hauser, Victor-L. Tapié), and pioneers of the French Baroque (Jean Rousset, Marcel Raymond).

scholarly journals Towards a Kenotic Identity Politics: Migration, Transformation and the Eucharist

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 380
Author(s):  
Matthew John Paul Tan
Keyword(s):  
Identity Politics ◽  
The Body ◽  
The Other ◽  
Body Of Christ ◽  
Eucharistic Theology ◽  
Critical Tradition ◽  
Other Hand ◽  
Massive Influx ◽  
Identity Based ◽  
The One

This paper will focus on one element of the pushback against the massive influx of immigrants taken in for humanitarian purposes, namely, an identity-based chauvinism which uses identity as the point of resistance to the perceived dilution of that identity, brought about by the transformation of culture induced by the incorporation of a foreign other. The solution to this perceived dilution is a simultaneous defence of that culture and a demand for a conformity to it. While those in the critical tradition have encouraged a counter-position of revolutionary transformation by the other through ethics, dialogue, or the multitude, such a transformation is arguably impeded by what is ultimately a repetition of the metaphysics of conformity. Drawing on the personalism of Emmanuel Mounier and the Eucharistic theology of Creston Davis and Aaron Riches, this paper submits an alternative identity politics position that completes the revolutionary impulse. Identity here is not the flashpoint of a self-serving conflict, but the launch-point of politics of self-emptying, whose hallmarks include, on the one hand, a never-ending reception of transformation by the other, and on the other hand, an anchoring in the Body of Christ that is at once ever-changing and never-changing.

The Critical Tradition of Pentecostalism

1992 ◽  
Vol 1 (1) ◽  
pp. 7-17 ◽  
Author(s):  
Walter Hollenweger
Keyword(s):  
Critical Tradition

Caribbean Economic Thought: Advances, Retreat, Current Challenges

2021 ◽  
pp. 227797602110530
Author(s):  
Michael Witter
Keyword(s):  
Summer School ◽  
Debt Crisis ◽  
Economic Thought ◽  
Memorial Lecture ◽  
Economic Welfare ◽  
Economic Knowledge ◽  
Colonial Era ◽  
Plantation Economy ◽  
Critical Tradition ◽  
The Caribbean

The reflections provided in this article were presented in the 4th Sam Moyo Memorial Lecture, delivered at the SMAIAS/ASN Summer School in January 2021. The article focuses on the critical tradition of economic knowledge and thought about the socio-economic development of the Caribbean, which began in the last decades of the colonial era. The advances made through the early Independence period were concerned with the problems of individual countries and the region as a whole. The objective was to improve the material economic welfare of the broad masses of Caribbean people while generating the requisite economic growth to sustain an improvement in the general conditions of life. From the thought of W. Arthur Lewis to the Plantation Economy theorists and subsequent critiques, a rich critical tradition emerged, only to be displaced by the onset of the debt crisis and neoliberalism. This article reviews the main elements of this critical tradition, its advances, and retreats, as well as the new challenges presented to it today.

scholarly journals Towards a spatialized utopia: romanticism and everyday life in the Marxism of Henri Lefebvre

2021 ◽  
pp. 1-25
Author(s):  
César Simoni Santos
Keyword(s):  
Everyday Life ◽  
Right To The City ◽  
Henri Lefebvre ◽  
Social Imagination ◽  
Critical Tradition ◽  
Revolutionary Romanticism ◽  
Practical Program ◽  
The Right ◽  
The City ◽  
Spatial Element

The presence of the spatial element in the reflections of Henri Lefebvre does not merely result from work involving the translation and adaptation of critical thinking developed up until his time. The realization that not even the highest expression of the critical tradition had sufficiently noticed this crucial dimension of life was one of the connecting points between theoretical advance, represented by the spatial orientation of critique, and the effort to renew the utopian horizon. A very distinct assimilation of the early work of Marx and the proximity to revolutionary romanticism, particularly of Nietzschean extraction, rendered a decisive impact on Lefebvrian conception. Practice, body, pleasure and instincts, recovering their place in the critical social imagination, went on to become the basis for the re-foundation of a theoretical-practical program that involved the formulation of the notion of the right to the city. The perspective of appropriation thus replaced the vague emancipatory statements of the subject's philosophies.

Dumb show

2017 ◽  
Author(s):  
Jeremy Lopez
Keyword(s):  
Early Modern ◽  
The Other ◽  
Critical Tradition ◽  
Early Modern Theatre ◽  
And Performance ◽  
Popular Audience

This chapter examines the theatrical experience provided by early modern dumb shows and the critical tradition that has emerged around them. It argues that dumb shows are a threshold between drama and theatricality, and that they vividly represent not only the contest between text and performance for authority over theatrical meaning, but also the tendency of each to displace this authority onto the other. In the canon of early modern theatre and in the modern critical tradition, dumb shows are often a sign of a derivative theatricality directed at a merely popular audience. In the dumb show, there is an especially complex and self-conscious encounter between word and action, diegesis and mimesis, presentational vehicles and represented fiction. As a moment of extraordinary semiotic density and redundancy, the dumb show was at once too readerly for the stage and too spectacular for the printed book. The chapter also considers ‘Hamlet’s advice to the players’ and its implications for approaches and responses to the dumb show.

Transatlantic Modernism and the US Lecture Tour

2021 ◽  
Author(s):  
Robert Volpicelli
Keyword(s):  
Gertrude Stein ◽  
Unique Form ◽  
Broad Distribution ◽  
Self Presentation ◽  
Rabindranath Tagore ◽  
Critical Tradition ◽  
Physical Form ◽  
The Us ◽  
Different Types ◽  
Lecture Tour

Transatlantic Modernism and the US Lecture Tour examines how the US lecture tour served as a vital infrastructure for bringing regional audiences from all across America into direct contact with international modernists. In doing so, the book reroutes scholarly understandings of modernism away from the magazines and other mass media that have so far characterized its circulation and toward the unique form of cultural distribution that coalesced around public lecturing. More specifically, it highlights the role the lecture circuit played in the formation of transatlantic modernism by following a diverse group of international authors—Oscar Wilde, W. B. Yeats, Rabindranath Tagore, Gertrude Stein, and W. H. Auden—on their wide-ranging tours through the American landscape. By analyzing these tours, this study illuminates how this extremely physical form of literary circulation transformed authors into commodities to be sold in a variety of performance venues. Moreover, it shows how these writers responded to such broad distribution by stretching their own ideas about modernist authorship. In this way, Transatlantic Modernism and the US Lecture Tour adds to a critical tradition of revealing the popular dimensions of modernism by demonstrating how the tour’s social diversity forced modernists to take on new, more flexible forms of self-presentation that would allow them to appeal to many different types of audiences.

Tennessee Williams’s Misunderstood ‘memory play’: Re-Imagining Amanda Wingfield in The Glass Menagerie

2021 ◽  
Vol 139 (3) ◽  
pp. 475-493
Author(s):  
Ramón Espejo Romero
Keyword(s):  
Twentieth Century ◽  
Tennessee Williams ◽  
Search For Meaning ◽  
Critical Tradition ◽  
The Past ◽  
Memory Work ◽  
Glass Menagerie ◽  
The Glass Menagerie

Abstract Tennessee Williams famously called The Glass Menagerie a ‘memory play’. This remark has been consistently overlooked or misinterpreted by critics, unleashing a tradition of approaching the play in a rather confusing fashion concerning who the characters are and how the playwright uses them. This paper engages with the character of Amanda. First of all, I will trace major transformations in the conception of characters throughout twentieth-century drama, providing background for Williams’s attempt to redefine major aspects of a playwright’s craft such as what a ‘character’ is. Secondly, I will survey a critical tradition surrounding Tom Wingfield’s mother and consider major views concerning the character. Recurrent in them, as my analysis indicates, is the failure to acknowledge her as a tool for the ‘memory work’ Tom carries out. The character is subsequently posited as a fluid entity that helps Tom (and Williams) make sense of the past and explore how their families shaped who they were. As opposed to a realistic play, where so much is given at the start, a ‘memory play’, as Williams seems to have conceived it, remains a cry for the reader to join the playwright in a common search for meaning, one that utilizes, rather than just displays, characters in order to reach standpoints that are far from fixed and immutable.

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