Public Subjects: Race and the Critical Reception of Gwendolyn Brooks, Erica Hunt, and Harryette Mullen

2005 ◽  
Vol 26 (2) ◽  
pp. 3-36 ◽  
Author(s):  
Allison Cummings
Keyword(s):  
Critical Reception ◽  
Gwendolyn Brooks ◽  
Harryette Mullen

‘What we are up against’: Lindsay Anderson and The Old Crowd

2014 ◽  
Vol 11 (2-3) ◽  
pp. 332-350
Author(s):  
Tom Sutcliffe
Keyword(s):  
Critical Reception ◽  
Production History

Drawing on the invaluable experience of watching Lindsay Anderson at work and on lengthy interviews with the director, this article traces the production history and critical reception of The Old Crowd, an Alan Bennett play which Anderson directed for London Weekend Television in 1979. In so doing it paints a picture of an ITV environment very different from that of today, one in which there was far more scope for formal experimentation and innovation, but it also demonstrates all too clearly the critical hostility and incomprehension which greeted directors like Anderson who were determined to take advantage of this relatively liberal climate in order to stretch the medium to its limits.

Walter Pater: Personality and Persons

2015 ◽  
Vol 5 (3) ◽  
pp. 234-250
Author(s):  
Stephen Cheeke
Keyword(s):  
Critical Reception ◽  
The Self ◽  
Walter Pater ◽  
History Of ◽  
Knowledge Of Persons

This article argues for the centrality of notions of personality and persons in the work of Walter Pater and asks how this fits in with his critical reception. Pater's writing is grounded in ideas of personality and persons, of personification, of personal gods and personalised history, of contending voices, and of the possibility of an interior conversation with the logos. Artworks move us as personalities do in life; the principle epistemological analogy is with the knowledge of persons – indeed, ideas are only grasped through the form they take in the individuals in whom they are manifested. The conscience is outwardly embodied in other persons, but also experienced as a conversation with a person inhabiting the most intimate and sovereign dimension of the self. Even when personality is conceived as the walls of a prison-house, it remains a powerful force, able to modify others. This article explores the ways in which these questions are ultimately connected to the paradoxes of Pater's own person and personality, and to the matter of his ‘style’.

The Fascist Turn in the Dance of Serge Lifar

2020 ◽  
Author(s):  
Mark Franko
Keyword(s):  
Nineteenth Century ◽  
World War Ii ◽  
World War I ◽  
Critical Reception ◽  
World War ◽  
Close Attention ◽  
Before And After ◽  
Gradual Development ◽  
Critical Discourses

This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and the Lifar-person (the historical actor). This topic is further developed in the final chapter into a discussion of the so-called baroque dance both as a historical object and as a motif of contemporary experimentation as it emerged in the aftermath of World War II (circa 1947–1991) in France. Using Lifar as a through-line, the book explores the development of critical ideas of neoclassicism in relation to his work and his drift toward a fascist position that can be traced to the influence of Nietzsche on his critical reception. Lifar’s collaborationism during the Occupation confirms this analysis. The discussion of neoclassicism begins in the final years of the nineteenth-century and carries us through the Occupation; then track the baroque in its gradual development from the early 1950s through the end of the 1980s and early 1990s.

Crossing the Electronic Divide

2018 ◽  
Author(s):  
Steve Waksman
Keyword(s):  
Digital Divide ◽  
Critical Reception ◽  
Electric Guitar ◽  
The Future ◽  
History Of ◽  
John Mclaughlin

Guitar synthesizers gained prevalence in the 1980s thanks to the work of guitarists such as Pat Metheny, John McLaughlin, and Allan Holdsworth. This chapter explores how the guitar synthesizer challenged prevailing ideologies of technology, technique, and tone in the guitar community and was ultimately a commercial failure. It traces a brief history of the electric guitar and the synthesizer and their subsequent conjoining. The chapter discusses three cases in detail: Metheny’s use of the Roland GR-300, McLaughlin’s use of the Synclavier II, and Holdsworth’s use of the SynthAxe. The chapter concludes with an examination of the critical reception of the guitar synthesizer and speculates about the future of technological synthesis across the analog/digital divide.

The Reception of Turner's Newman: A Reply to Simon Skinner

2012 ◽  
Vol 63 (3) ◽  
pp. 534-548
Author(s):  
EAMON DUFFY
Keyword(s):  
Roman Catholic ◽  
Critical Reception ◽  
John Henry Newman ◽  
Historical Evidence ◽  
University History ◽  
General Readership ◽  
History Department ◽  
The Right

In his article on the critical reception of the late Frank Turner's John Henry Newman: the challenge to Evangelical religion, Simon Skinner contends that Turner's study is ‘empirically exhaustive, contextually assured and critically rigorous’, and he cites with approval Andrew Wilson's judgement that it ‘revolutionizes Newman studies’.1 But this historical masterpiece, he thinks, has been unjustly howled down by a benighted posse of Roman Catholic reviewers, ‘almost none of [whom] are … tenured in a university history department’. Turner's Catholic reviewers, ‘which is to say nearly all reviewers’, are therefore ‘amateurs’, who ‘literally could not comprehend’ what Turner was up to.2 But history is not an arcane discipline, and Skinner's complaint about the ‘lack of disciplinary equipment’ of these hostile reviewers seems hardly to the point in relation to a book offered by a major publisher to a general readership. The ordinary rules of historical evidence are intelligible to anybody, and a de haut en bas restriction of the right to an opinion on Turner's book to the gild of professional historians runs the risk of seeming both arbitrary and condescending.

John Galsworthy's Strife: Striving for Balance or the Audience as Jury

1995 ◽  
Vol 20 (1) ◽  
pp. 7-18
Author(s):  
Rudolf Weiss
Keyword(s):  
Critical Reception ◽  
Theatre History ◽  
Textual History

Strife, arguably John Galsworthy's best play, can most fruitfully be studied from four different perspectives: theatre history, textual history, dramatic analysis, and critical reception.

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