CRITICAL QUARTERLY最新文献

{"title":"Solitude, Psychological Science and the Cold War Imagination","authors":"Charlie Williams","doi":"10.1111/criq.12718","DOIUrl":"10.1111/criq.12718","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 2","pages":"74-92"},"PeriodicalIF":0.2,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41911144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inside/Outcast","authors":"Mark Cousins","doi":"10.1111/criq.12722","DOIUrl":"10.1111/criq.12722","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 3","pages":"38-42"},"PeriodicalIF":0.2,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45845549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘It is money we are looking for’","authors":"Mary Kisitu","doi":"10.1111/criq.12720","DOIUrl":"10.1111/criq.12720","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 2","pages":"105-117"},"PeriodicalIF":0.2,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42663088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Decisions to leave: a semi-fictional essay","authors":"Vanessa Lim","doi":"10.1111/criq.12721","DOIUrl":"10.1111/criq.12721","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 2","pages":"93-104"},"PeriodicalIF":0.2,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48372705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"First, Catch Your Peasant: A Critical History of the Peasantry in British Food Writing via John Berger, Elizabeth David and Patience Gray","authors":"Jonathan Nunn","doi":"10.1111/criq.12704","DOIUrl":"10.1111/criq.12704","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"31-43"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45186069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Berger and the Disappointment of Zoos","authors":"Henry Mance","doi":"10.1111/criq.12699","DOIUrl":"https://doi.org/10.1111/criq.12699","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"52-57"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50145100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Errata to ‘Parsing Time in the Lyric’","authors":"","doi":"10.1111/criq.12712","DOIUrl":"10.1111/criq.12712","url":null,"abstract":"<p>\u0000 <span>David, Nowell Smith</span>, <span>‘Parsing Time in the Lyric’</span>, <i>Critical Quarterly</i> <span>64</span>:<span>4</span> (<span>2022</span>) pp. <span>138</span>–<span>54</span>. https://doi.org/10.1111/criq.12689.</p><p>In paragraph 1 of the ‘Monument’ section, the text ‘in this opposition lies two apparently contradictory models of poetic speech’ was incorrect. This should have read ‘the opposition of sensual music and intellectual monument contrasts not just models of poetic speech but attitudes towards time’.</p><p>In paragraph 5 of the ‘Turns’ section, the text ‘As the diaresis points towards the shift from the element into the ethereal, it would corroborate’ was incorrect. This should have read ‘Donne’s “expansion” would corroborate’.</p><p>In note 4 ‘the lyricscall for the citizens’ should have read ‘the lyric’s call for the citizen’.</p><p>We apologise for these errors.</p><p>Note: The original article has been updated with minor edits that do not affect the content.</p>","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"138"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12712","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47731997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Notes on contributors","authors":"","doi":"10.1111/criq.12714","DOIUrl":"https://doi.org/10.1111/criq.12714","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"139-141"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50121904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Berger in Picasso’s Red Period","authors":"Matthew Holman","doi":"10.1111/criq.12706","DOIUrl":"10.1111/criq.12706","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"122-130"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44945041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond the Barbershop: Berger, Turner and the Inner World","authors":"Rye Dag Holmboe","doi":"10.1111/criq.12707","DOIUrl":"10.1111/criq.12707","url":null,"abstract":"<p>In 1972, Berger wrote his well-loved essay on Turner. First printed in the Parisian magazine <i>Réalités</i>, it appeared in a number of Berger’s collections, the last of which, <i>Portraits</i> (2015), includes an angry preface from its author. ‘I have always hated being called an art critic’, it begins, linking the job to the art market, and ends with an attack on colour reproductions of paintings, which belong ‘in a luxury brochure for millionaires’ (<i>Portraits</i> was published by Verso, with the reference images reproduced in black and white).¹ For Berger, to write on art was to be an ‘outlaw’.² In each ‘portrait’, a polemic was made for what counted as art and what did not. Early attacks on Henry Moore and Francis Bacon, accused respectively of formalism and mannerism, were as violent as Berger’s praise for so-called Kitchen-Sink painters like John Bratby was fulsome. Art was not only an aesthetic matter but a moral and political one; a perennial concern was the artist’s relationship to history – what Berger called elsewhere ‘the unprecedented events of the period.’³ Or at least that is how the portraits are usually remembered.</p><p>The essay opens with the claim that it was Turner who best represented the character of the British nineteenth century; hence his popular appeal during his lifetime, which exceeded that of Constable and Landseer. ‘Turner was expressing something of the bedrock of their own varied experience’,⁴ Berger writes, referring to members of the art-going public. This experience was ineffable, inexpressible in words – Berger uses the word ‘dumb’.⁵ Then he provides a short biography, where emphasis is placed on Turner’s early history in London: a father who owned a barbershop in Covent Garden (where, by the way, the pictures Turner painted as a child often occupied pride of place); an uncle who was a butcher; and an early exposure to the Thames, from which he developed his passion for water: coastlines, seascapes, rivers. ‘(The painter’s mother died insane),’⁶ Berger adds, as if this were literally parenthetical – Turner’s mother is mentioned only once in the essay, and nothing is made of what it might have felt like to grow up in her shadow.</p><p>Although he admits that it was not possible to know what early visual experiences affected Turner’s imagination, Berger develops an analogy between his painting and the experience of the barbershop run by his father, which acts as one of the fulcrums upon which the essay turns. Addressing the reader directly, he imagines – or confabulates – what the barbershop might have felt and looked like to the boy Turner and how it survived in the work: ‘Consider some of his later paintings and imagine, in the backstreet shop, water, froth, steam, gleaming metal, clouded mirrors, white bowls or basins in which soapy liquid is agitated by the barber’s brush and detritus deposited.’⁷ Then, two further images, m","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"96-104"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12707","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45493624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}