{"title":"Between the Fasces and the Cross: Politics and History in Federico Fellini's \"La Strada\"","authors":"P. Gardner, B. Foley","doi":"10.3998/fc.1035","DOIUrl":"https://doi.org/10.3998/fc.1035","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44437500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gönül Dönmez-Colin, \"Women in the Cinemas of Iran and Turkey: As Images and as Image-Makers\" (Routledge, 2020)","authors":"Serkan Şavk","doi":"10.3998/fc.1047","DOIUrl":"https://doi.org/10.3998/fc.1047","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44403082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-01DOI: 10.13110/criticism.63.4.0355
S. Besser
Abstract:This essay explores the fascination with performance and performance art in contemporary fiction in relation to post-Fordist culture and society. I employ the concept of general performance in order to analyze configurations of artistic, professional, and economic performance in Niña Weijers's novel The Consequences (2014) and Tom McCarthy's Satin Island (2015). The readings demonstrate that, in different ways, both novels imagine performance as a key practice at the intersection of art, life, and labor. While Satin Island presents a bleak view of generalized post-Fordist performance, The Consequences insists on discontinuities between artistic and other forms of performance. The essay makes a case for general performance as a key concept for the study of the imagination of immaterial and creative labor in twenty-first-century fiction.
{"title":"Narrating General Performance: Art, Life, and Labor in Niña Weijers's The Consequences and Tom Mccarthy's Satin Island","authors":"S. Besser","doi":"10.13110/criticism.63.4.0355","DOIUrl":"https://doi.org/10.13110/criticism.63.4.0355","url":null,"abstract":"Abstract:This essay explores the fascination with performance and performance art in contemporary fiction in relation to post-Fordist culture and society. I employ the concept of general performance in order to analyze configurations of artistic, professional, and economic performance in Niña Weijers's novel The Consequences (2014) and Tom McCarthy's Satin Island (2015). The readings demonstrate that, in different ways, both novels imagine performance as a key practice at the intersection of art, life, and labor. While Satin Island presents a bleak view of generalized post-Fordist performance, The Consequences insists on discontinuities between artistic and other forms of performance. The essay makes a case for general performance as a key concept for the study of the imagination of immaterial and creative labor in twenty-first-century fiction.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"97 1","pages":"355 - 380"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85206757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-07DOI: 10.13110/criticism.63.3.0223
Ellen Scheible
Abstract:In the Enquiry, Burke gives voice to a traumatic cultural symptom—an inaccessible yet necessary sublimity—that is bound to his dual role as English and Irish and his understanding of the many versions of subjectivity in eighteenth-century aesthetics. Burke gives further articulation to conventional notions of sympathy by positing the sympathetic sublime as a possible mediator of inflicted and symptomatic traumas—traumas that cannot be reduced or generalized as a unified, theoretical "trauma" but instead remain individual regardless of Burke's desire to make them part of a transcendental aesthetic. The necessary distance presupposed by a sublime experience is counteracted by the intimacy of the imagination—we must make a painful experience a personal one in order to sympathize with it—and this intimacy occurs when the subject is confronted by both the gender and language of an other. Such confrontation reconfigures notions of the self and its position within the economy of modern imperialism.
{"title":"The Eye of the Other in Edmund Burke's Enquiry: Language, Confrontation, and the (Subjective) Body of the Sublime","authors":"Ellen Scheible","doi":"10.13110/criticism.63.3.0223","DOIUrl":"https://doi.org/10.13110/criticism.63.3.0223","url":null,"abstract":"Abstract:In the Enquiry, Burke gives voice to a traumatic cultural symptom—an inaccessible yet necessary sublimity—that is bound to his dual role as English and Irish and his understanding of the many versions of subjectivity in eighteenth-century aesthetics. Burke gives further articulation to conventional notions of sympathy by positing the sympathetic sublime as a possible mediator of inflicted and symptomatic traumas—traumas that cannot be reduced or generalized as a unified, theoretical \"trauma\" but instead remain individual regardless of Burke's desire to make them part of a transcendental aesthetic. The necessary distance presupposed by a sublime experience is counteracted by the intimacy of the imagination—we must make a painful experience a personal one in order to sympathize with it—and this intimacy occurs when the subject is confronted by both the gender and language of an other. Such confrontation reconfigures notions of the self and its position within the economy of modern imperialism.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"17 1","pages":"223 - 253"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77659069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-07DOI: 10.13110/criticism.63.3.0193
William Coker
Abstract:Recent critical discourse on "critique" tends to betray a certain discomfort with critique's Enlightenment origins and its corresponding alignment with notions of autonomous subjectivity and universality. Especially since Bruno Latour's broadside against critical "anti-fetishism," supporters have been at pains to distance critique from the image of a self-satisfied vanguard chiding the unenlightened.This paper stages a defense of critique that reclaims its Enlightenment lineage in order to assemble, in Mark Hulliung's words, an "autocritique of Enlightenment." Reading Kant and Marx via Kojin Karatani and Slavoj Žižek, I trace a line of thought in which critique foregrounds the intersection between theory and practice. It is at that intersection that the fetish appears. In contrast to Latour and some of critique's defenders, I consider the fetish not a blind spot that immobilizes but a point of contact representing a practical commitment. Even Kant himself performs a "fetishistic disavowal" of sorts: I know very well that there is no empirical ground for metaphysical commitments, but nevertheless I will make them because it is the only way to live autonomously and foster others' autonomy. In the symbolic order of capitalism, such "faith without belief" loses its intentional character, crystallizing in commodity fetishism as "the religion of everyday life." Yet it also informs the Romantic view of the literary work as the site for a dialectic of truth and illusion, and Adorno's thesis that a "fetish character" inhabits artworks no less intrinsically than commodities. This fetish character makes the literary text, like ideology, a particularly fitting object of critique. Herein lies the parallel between literary reading and the critique of ideology, and the reason why critique need not subordinate one to the other in order to be properly critical.
{"title":"How Practical is Critique? From Matters of Concern to Matters of Commitment","authors":"William Coker","doi":"10.13110/criticism.63.3.0193","DOIUrl":"https://doi.org/10.13110/criticism.63.3.0193","url":null,"abstract":"Abstract:Recent critical discourse on \"critique\" tends to betray a certain discomfort with critique's Enlightenment origins and its corresponding alignment with notions of autonomous subjectivity and universality. Especially since Bruno Latour's broadside against critical \"anti-fetishism,\" supporters have been at pains to distance critique from the image of a self-satisfied vanguard chiding the unenlightened.This paper stages a defense of critique that reclaims its Enlightenment lineage in order to assemble, in Mark Hulliung's words, an \"autocritique of Enlightenment.\" Reading Kant and Marx via Kojin Karatani and Slavoj Žižek, I trace a line of thought in which critique foregrounds the intersection between theory and practice. It is at that intersection that the fetish appears. In contrast to Latour and some of critique's defenders, I consider the fetish not a blind spot that immobilizes but a point of contact representing a practical commitment. Even Kant himself performs a \"fetishistic disavowal\" of sorts: I know very well that there is no empirical ground for metaphysical commitments, but nevertheless I will make them because it is the only way to live autonomously and foster others' autonomy. In the symbolic order of capitalism, such \"faith without belief\" loses its intentional character, crystallizing in commodity fetishism as \"the religion of everyday life.\" Yet it also informs the Romantic view of the literary work as the site for a dialectic of truth and illusion, and Adorno's thesis that a \"fetish character\" inhabits artworks no less intrinsically than commodities. This fetish character makes the literary text, like ideology, a particularly fitting object of critique. Herein lies the parallel between literary reading and the critique of ideology, and the reason why critique need not subordinate one to the other in order to be properly critical.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"8 1","pages":"193 - 222"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78484740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-07DOI: 10.13110/criticism.63.3.0255
Piotr K. Gwiazda
Abstract:This essay considers translingualism as a distinct category of multilingualism, "a significant political-aesthetic formation in U.S. literature" (Juliana Spahr). While some multilingual poems attempt to bring together languages and cultures through an assortment of formal and verbal effects, in poems like Lorna Dee Cervantes's "Poema para los Californios Muertos," Eduardo C. Corral's "In Colorado My Father Scoured and Stacked Dishes," Li-Young Lee's "Persimmons," Cathy Park Hong's "All the Aphrodisiacs," and Mark Nowak's poetic sequence "The Pain-Dance Begins," such fusions are not easily attained. These translingual poems insist on the incompatibility of languages and cultures, with non-English elements (Spanish, Chinese, Korean, Polish) marking spaces of conflict rather than contact. Through disruption and dissonance, they illustrate how the experience of language—or more precisely languages—shapes personal and social relationships in the United States.
{"title":"Ghosts and Anchors: Translingualism in Contemporary U.S. Poetry","authors":"Piotr K. Gwiazda","doi":"10.13110/criticism.63.3.0255","DOIUrl":"https://doi.org/10.13110/criticism.63.3.0255","url":null,"abstract":"Abstract:This essay considers translingualism as a distinct category of multilingualism, \"a significant political-aesthetic formation in U.S. literature\" (Juliana Spahr). While some multilingual poems attempt to bring together languages and cultures through an assortment of formal and verbal effects, in poems like Lorna Dee Cervantes's \"Poema para los Californios Muertos,\" Eduardo C. Corral's \"In Colorado My Father Scoured and Stacked Dishes,\" Li-Young Lee's \"Persimmons,\" Cathy Park Hong's \"All the Aphrodisiacs,\" and Mark Nowak's poetic sequence \"The Pain-Dance Begins,\" such fusions are not easily attained. These translingual poems insist on the incompatibility of languages and cultures, with non-English elements (Spanish, Chinese, Korean, Polish) marking spaces of conflict rather than contact. Through disruption and dissonance, they illustrate how the experience of language—or more precisely languages—shapes personal and social relationships in the United States.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"15 1","pages":"255 - 276"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90036317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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