{"title":":Curating Capitalism: How Art Impacts Business, Management, and Economy.","authors":"M. Maizels","doi":"10.1086/725041","DOIUrl":"https://doi.org/10.1086/725041","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45822291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Ideology and Politics","authors":"S. Di Iorio","doi":"10.1086/725018","DOIUrl":"https://doi.org/10.1086/725018","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47849551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Operation Valhalla: Writings on War, Weapons, and Media","authors":"Anders Engberg-Pedersen","doi":"10.1086/725020","DOIUrl":"https://doi.org/10.1086/725020","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49086322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1890, the famous Jena Glass Works of Carl Zeiss released the Anastigmat photographic lens to great fanfare. The nearly faultless realism it generated seemed to conclude a chapter in optical technology that had progressed in a predetermined manner since photography’s origins. But why exactly had Zeiss developed its expensive mechanism, and what drove photographers to buy it? This article proposes that the consistent focus and varied depth of field that the Anastigmat provided were not in and of themselves the desired goals of the new corrected lens, but that they were instead visible signals of a pictorial model that makers and consumers had been circling since the public introduction of photography in 1839. The goal was a strict verisimilitude that remained stubbornly external to the medium, an illusionistic standard that had largely been mediated by painting and was now apparently possible in photography as well. But this history of pictorial perfection and the Anagstimat was not inevitable. Other lenses developed around the same time answered to dramatically different technological and aesthetic imperatives. They tell an alternative story of photography’s identity that is less tethered to mimetic fidelity and the idealized human vision with which photography was increasingly associated.
{"title":"Visible Yet Transparent: The Lens in Nineteenth-Century Photographic Cultures","authors":"Andrés Mario Zervigón","doi":"10.1086/725045","DOIUrl":"https://doi.org/10.1086/725045","url":null,"abstract":"In 1890, the famous Jena Glass Works of Carl Zeiss released the Anastigmat photographic lens to great fanfare. The nearly faultless realism it generated seemed to conclude a chapter in optical technology that had progressed in a predetermined manner since photography’s origins. But why exactly had Zeiss developed its expensive mechanism, and what drove photographers to buy it? This article proposes that the consistent focus and varied depth of field that the Anastigmat provided were not in and of themselves the desired goals of the new corrected lens, but that they were instead visible signals of a pictorial model that makers and consumers had been circling since the public introduction of photography in 1839. The goal was a strict verisimilitude that remained stubbornly external to the medium, an illusionistic standard that had largely been mediated by painting and was now apparently possible in photography as well. But this history of pictorial perfection and the Anagstimat was not inevitable. Other lenses developed around the same time answered to dramatically different technological and aesthetic imperatives. They tell an alternative story of photography’s identity that is less tethered to mimetic fidelity and the idealized human vision with which photography was increasingly associated.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"49 1","pages":"626 - 662"},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41616922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article situates Bong Joon-ho’s Parasite (2019) within the historical logics of the Washington Consensus. In this broad context, we might think of the film’s much-heralded class critique as not quite so domestically contained as may initially appear in a film staged primarily in the confines of a single household. Instead, it opens onto a global political economic framework, which it explores through a nested structure in which class dynamics are also mobilized to explore cold-war and trade-war logics, both of which are revealed to be radically interconnected with domestic concerns. Parasite reveals then the inherent dissensus in the Washington Consensus, a dissensus that was always latent but eventually became more explicit. We might say more generally that stories of class difference take on a pointedly different tenor during periods of stagnation; the specific anxiety in Parasite then is not just over the moral fact of social inequality but also specifically about the material distribution of wealth in the face of diminishing resources. The fact of brutal competition emerges from a milieu that seems ostensibly defined by plentitude.
{"title":"Lines Left to Cross: Deglobalization and the Domestic Western in Bong Joon-ho’s Parasite","authors":"Joseph Jonghyun Jeon","doi":"10.1086/724983","DOIUrl":"https://doi.org/10.1086/724983","url":null,"abstract":"This article situates Bong Joon-ho’s Parasite (2019) within the historical logics of the Washington Consensus. In this broad context, we might think of the film’s much-heralded class critique as not quite so domestically contained as may initially appear in a film staged primarily in the confines of a single household. Instead, it opens onto a global political economic framework, which it explores through a nested structure in which class dynamics are also mobilized to explore cold-war and trade-war logics, both of which are revealed to be radically interconnected with domestic concerns. Parasite reveals then the inherent dissensus in the Washington Consensus, a dissensus that was always latent but eventually became more explicit. We might say more generally that stories of class difference take on a pointedly different tenor during periods of stagnation; the specific anxiety in Parasite then is not just over the moral fact of social inequality but also specifically about the material distribution of wealth in the face of diminishing resources. The fact of brutal competition emerges from a milieu that seems ostensibly defined by plentitude.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"49 1","pages":"557 - 580"},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45497725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Digital Lethargy: Dispatches from an Age of Disconnection","authors":"Lida Zeitlin-Wu","doi":"10.1086/725043","DOIUrl":"https://doi.org/10.1086/725043","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43763317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wattpad is a popular online writing website in which individuals write, upload, and comment on original stories. In 2020, the platform had more than a hundred million registered users. In this article, we use a mixture of close and distant reading methods to study how lay authors wrote about the COVID-19 global pandemic during its first year. We examine some of the formal and generic norms these authors used to narrativize this event; how such norms evolved over time as the pandemic dragged on; and how these online COVID stories differ from more established online genres, such as mystery and romance. Overall, this article explores how a large reading and writing public, leveraging the novel affordances of user generated content, came to respond to a massive social crisis in real time, before they knew how it would end. This exploration allows us to accomplish two things. First, we are able to situate real-time pandemic stories against the retrospective narratives that we expect from literary fiction. How does writing crisis in real time and in a collaborative mode produce its own unique plot and narrative structures, and how do stories written in the immediate wake of the pandemic anticipate later mainstream cultural productions (fiction, film, television)? Second, we gain a broader understanding of how new genres of writing emerge within a cultural ecosystem increasingly defined by generic predictability and the recycling of familiar cultural intellectual property (IP), such as The Avengers and Harry Potter. COVID-19 dramatically disrupted global economic, political, and health systems. How did it also disrupt cultural systems?
{"title":"#COVID, Crisis, and the Search for Story in the Platform Age","authors":"Hoyt Long, R. So, K. Todd","doi":"10.1086/725059","DOIUrl":"https://doi.org/10.1086/725059","url":null,"abstract":"Wattpad is a popular online writing website in which individuals write, upload, and comment on original stories. In 2020, the platform had more than a hundred million registered users. In this article, we use a mixture of close and distant reading methods to study how lay authors wrote about the COVID-19 global pandemic during its first year. We examine some of the formal and generic norms these authors used to narrativize this event; how such norms evolved over time as the pandemic dragged on; and how these online COVID stories differ from more established online genres, such as mystery and romance. Overall, this article explores how a large reading and writing public, leveraging the novel affordances of user generated content, came to respond to a massive social crisis in real time, before they knew how it would end. This exploration allows us to accomplish two things. First, we are able to situate real-time pandemic stories against the retrospective narratives that we expect from literary fiction. How does writing crisis in real time and in a collaborative mode produce its own unique plot and narrative structures, and how do stories written in the immediate wake of the pandemic anticipate later mainstream cultural productions (fiction, film, television)? Second, we gain a broader understanding of how new genres of writing emerge within a cultural ecosystem increasingly defined by generic predictability and the recycling of familiar cultural intellectual property (IP), such as The Avengers and Harry Potter. COVID-19 dramatically disrupted global economic, political, and health systems. How did it also disrupt cultural systems?","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"49 1","pages":"530 - 556"},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49502163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An introduction to Erwin Panofsky’s “‘The Problem of Style in the Visual Arts’” (1915).
介绍欧文·帕诺夫斯基的“视觉艺术中的风格问题”(1915)。
{"title":"Panofsky’s Debut","authors":"William Diebold, Sonja Drimmer","doi":"10.1086/724945","DOIUrl":"https://doi.org/10.1086/724945","url":null,"abstract":"An introduction to Erwin Panofsky’s “‘The Problem of Style in the Visual Arts’” (1915).","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"49 1","pages":"663 - 675"},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46117278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Queer Velocities: Time, Sex, and Biopower on the Early Modern Stage.","authors":"Noémie Ndiaye","doi":"10.1086/725042","DOIUrl":"https://doi.org/10.1086/725042","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"28 12","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41302317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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