scholarly journals Constitution Illustrated

2021 ◽  
Vol 49 (1) ◽  
pp. 7
Author(s):  
Gwen Sinclair
Keyword(s):  
New York ◽  
New York Times ◽  
New Yorker ◽  
The New York Times ◽  
Illustrated Books ◽  
Cartoon Characters ◽  
The New Yorker

Fans of comics and cartoons will revel in the creative deployment of characters from the funny pages throughout Constitution Illustrated. Artist R. Sikoryak is a contributor to The New Yorker and The New York Times Book Review and is the author of several illustrated books. In his latest work, he has concocted an ingenious ploy to enliven the text of the Constitution. Each page features a different section of the Constitution being recited by cartoon characters. Sikoryak has imitated the style and borrowed the characters of dozens of cartoonists. Readers will find favorites both classic and contemporary, from Bud Counihan’s Betty Boop and Chester Gould’s Dick Tracy to Alison Bechdel’s Dykes to Watch Out For and Harvey Pekar’s American Splendor. Aficionados will have fun figuring out the artist being imitated on each page, and a helpful index provides a key to the source of each drawing for those who aren’t able to recognize the myriad cartoonists represented.

Immaturity: Reflections on the “Great (Queer) YA Debate”

2020 ◽  
pp. 171-180
Author(s):  
Derritt Mason
Keyword(s):  
New York ◽  
Children's Literature ◽  
Young Adult ◽  
Young Adult Literature ◽  
Children’S Literature ◽  
New York Times ◽  
New Yorker ◽  
The New York Times ◽  
High Profile ◽  
The New Yorker

This book’s conclusion reiterates the argument that queer YA is an anxious genre that perpetually rehearses a nervous uncertainty about its own constitution. Mason steps back to consider queer YA’s relationship to children’s literature more broadly, entering the discussion through a concept developed in Beverley Lyon Clark’s Kiddie Lit: the “anxiety of immaturity” that circulates around and within children’s literature and its criticism. Mason revisits the “Great YA Debate” of 2014, which followed a Slate piece by Ruth Graham entitled “Adults Should Be Embarrassed to Read Young Adult Books.” This debate included high profile pieces by Christopher Beha and A.O. Scott in The New York Times Magazine and The New Yorker, both of which evince a profound ambivalence about whether or not adults should be reading young adult literature. These conversations, Mason concludes, illustrate how young adult literature continues to be an unceasing source of adult anxiety.

scholarly journals Are You Being Sirred? Work in Progress, Nanette, Douglas, and the New Butch Middlebrow

2021 ◽  
Vol 74 (3) ◽  
pp. 46-55
Author(s):  
Sarah Kessler
Keyword(s):  
New York ◽  
New York Times ◽  
New Yorker ◽  
The New York Times ◽  
Work In Progress ◽  
New Comedy ◽  
The New Yorker

Abby McEnany’s new comedy series Work in Progress (Showtime) and Hannah Gadsby’s recent standup specials Nanette and Douglas (Netflix) evoke “butch middlebrow,” a contemporary aesthetic and affective sensibility distinguished by the cozy reception it enjoys among straight, white, liberal viewers and critics. McEnany’s and Gadsby’s works have occasioned praise from cosmopolitan gatekeepers like the New York Times and the New Yorker for their self-aware brands of comedy rooted in unvarnished portrayals of butch trauma. Critics ritually insist on the implausibility of Gadsby’s and McEnany’s success, but the popularity of these queer creators’ offerings is not as unlikely as so often presumed. Indeed, the middlebrow butch’s alleged improbability does not render her cultural accolades improbable; it may even ensure them, allowing a new canon of butch respectability to emerge in the light shed by the beacons of aspirational culture.

scholarly journals Reflexiones sobre el movimiento Me Too y su filosofía

2020 ◽  
Vol 10 (1) ◽  
pp. 103-114
Author(s):  
Jean-Claude Milner
Keyword(s):  
New York ◽  
New York Times ◽  
Redes Sociales ◽  
New Yorker ◽  
The New York Times ◽  
Pulp Fiction ◽  
The New Yorker

En octubre de 2017, The New York Times y The New Yorker publicaron decenas de acusaciones de abuso sexual contra el productor cinematográfico y ejecutivo estadounidense Harvey Weinstein por acoso, abuso sexual e incluso violaciones. Fue el inicio del movimiento «Me Too», conocido también por su hashtag «#MeToo», viralizado a través de redes sociales por más de medio millón de personas, entre ellas muchas celebridades. El 11 de marzo de 2020 Weinstein fue sentenciado a 23 años de prisión. Harvey Weinstein se había hecho famoso en la década del 80 cuando junto a suhermano Bob fundaron la legendaria compañía Miramax. Como productor, Weinstein fue el artífice de grandes éxitos, como Shakespeare in Love (1998), Gangs of New York (2002), Reservoir Dogs (1992), Pulp Fiction (1994), Smoke (1995), El paciente inglés (1996) -por la que obtuvo su primer Óscar de la Academia-, Scream (1996), Inglourious Basterds (2009), El discurso del rey (2010), y The Artist (2011), entre muchas otros. La revelación de las escandalosas inconductas sexuales de Wainstein, que motivó su expulsión de la Academia de Artes y Ciencias Cinematográficas, abrió un debate sobre el séptimo arte, la lógica del mercado y el tratamiento de los cuerpos en el capitalismo. Este artículo de Jean-Claude Milner, constituye seguramente la reflexión filosófico-analítica más profunda sobre el tema. Etica y Cine Journal lo publica por primera vez en español con la cuidada traducción y notas de Valentín Huarte, como un imprescindible aporte a una discusión que debe permanecer abierta bajo cualquier circunstancia.

Books as Culture/Books as Commerce

1994 ◽  
Vol 71 (4) ◽  
pp. 787-799 ◽  
Author(s):  
Ann Haugland
Keyword(s):  
New York ◽  
Book Industry ◽  
New York Times ◽  
The New York Times ◽  
Cultural Life ◽  
Low Culture ◽  
Conflicting Goals

The book industry historically has been characterized as caught between two seemingly conflicting goals: to contribute to the cultural life of the society and to make a profit. As the most influential medium for information about books, the text of the New York Times Book Review reflects that conflict and marks the boundary between books as culture and books as commerce in a way that maintains an artificial distinction between high and low culture.

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