CRITICAL QUARTERLY最新文献_第8页

Berger in Picasso’s Red Period 毕加索红色时期的伯格

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12706

Matthew Holman

引用次数: 0

Beyond the Barbershop: Berger, Turner and the Inner World 理发店之外：伯格、特纳与内心世界

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12707

Rye Dag Holmboe

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引用次数: 0

The Success of The Success and Failure of Picasso 毕加索的成功与失败

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12697

Henry Hitchings

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引用次数: 0

Notes on contributors 贡献者说明

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12714

引用次数: 0

Metaphors of Transcendence in John Berger’s A Seventh Man 约翰·伯杰《第七个人》中超越的隐喻

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12700

Lamorna Ash

引用次数: 0

John Berger’s Knowledge, or Listening in to the Voice of the (Female) Image 约翰·伯杰的知识，或倾听（女性）形象的声音

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12703

Marina Warner

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引用次数: 0

CONTRE-JOUR CONTARE-JOUR

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12711

Ben Lerner

引用次数: 0

Escaping the Magic Kingdom: Berger, Bacon, and the Pinocchio Problem 逃离魔法王国:伯杰、培根和匹诺曹问题

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12710

George Prochnik

引用次数: 0

‘To Save a Likeness’: Berger on Drawing & Resemblance “保存相似性”：伯杰谈绘画与相似性

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12705

Anna Hartford

{"title":"‘To Save a Likeness’: Berger on Drawing & Resemblance","authors":"Anna Hartford","doi":"10.1111/criq.12705","DOIUrl":"10.1111/criq.12705","url":null,"abstract":"The moment pen hovers above paper, the world divides. So recently just one form—a plum, say—it now splits into at least three. There is the plum as perceived by sight. There is the plum the mind anticipates: round, purple, of a certain size and density. And then there is the plum on the page; what the line itself can create and achieve.When a mark is made, so too ‘a microcosm’.1 With each succeeding mark, new laws and dynamics are created: ‘there is air, there is pressure and therefore there is bulk and weight’.2 In these marks, in their relation: life itself. They generate emotion and personality; they evoke memories, imaginings, and hauntings; they can make ‘a cheek turn, a thumb articulate with a wrist, a breast press against an arm’.3These three worlds—of the eye, of the mind, and of the page—do not cohere. Sometimes they pride themselves on not cohering. Usually we take the world as we see it, and the world as we think we see it, to be interchangeable. But when you set out to draw something, you realise that they are actually in profound opposition. The mind is trying to discount the eye: it is working to make it clear to you that the plum is round and that it would fit in the palm of your hand, when actually, if you were to obey the eye alone, the plum is a triangle, and it is larger than the branches behind it.Berger often presents drawing as discovery and exploration. The person drawing is a bird, a pilot, a sailor: navigating and negotiating vast and vacant expanses. They are a bat throwing sonar against the world; a water-diviner in communion with their stick. He also renders drawing as ruthless observation. ‘I say ruthless because an artist’s observation is not just a question of his using his eyes; it is the result of his honesty, of his fighting with himself to understand what he sees’.4 (In this sense, drawing can almost be a way of life. In an obituary, Geoff Dyer remarked that although Berger did not need a university education, ‘he was reliant, to the end, on his art school discipline of drawing’. In other words, reliant on a mode of engagement, and of presence, that encompassed the practice of ruthless observation – the belief that ‘if he looked long and hard enough at anything it would either yield its secrets or, failing that, enable him to articulate why the withheld mystery constituted its essence’.)The eye and the mind must battle, so too the eye and the page. At first, the page is subservient to the eye, wanting only to obey it as best it can. But when it has deviated enough — failed enough — it takes on its own non-negotiable autonomy. This is the inevitable ‘point of crisis’. where the demands of the page overtake, and it is now reality itself that must be subservient – that must bend and retreat in order to obey and make coherent the laws that have been established by the lines on the page.5It is remarkable how many lies a drawi","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"44-51"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12705","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43383260","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}

引用次数: 0

John Berger, Time Traveller 约翰·伯杰，《时间旅行者》

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12708

Rebecca Liu

引用次数: 0