CRITICAL QUARTERLY最新文献_第8页

Solitude, Psychological Science and the Cold War Imagination 孤独、心理科学和冷战想象

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-05-15 DOI: 10.1111/criq.12718

Charlie Williams

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Inside/Outcast 内部/外部

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-05-15 DOI: 10.1111/criq.12722

Mark Cousins

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‘It is money we are looking for’ “这是我们要找的钱”

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-05-15 DOI: 10.1111/criq.12720

Mary Kisitu

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Decisions to leave: a semi-fictional essay 决定离开:一篇半虚构的文章

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-05-08 DOI: 10.1111/criq.12721

Vanessa Lim

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First, Catch Your Peasant: A Critical History of the Peasantry in British Food Writing via John Berger, Elizabeth David and Patience Gray 《首先，抓住你的农民：英国食品写作中的农民批判史》，作者：约翰·伯杰、伊丽莎白·戴维和佩申斯·格雷

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12704

Jonathan Nunn

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Berger and the Disappointment of Zoos 伯格与动物园的失望

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12699

Henry Mance

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Errata to ‘Parsing Time in the Lyric’ “抒情诗中的解析时间”勘误表

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12712

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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

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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

{"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":"In 1972, Berger wrote his well-loved essay on Turner. First printed in the Parisian magazine Réalités, it appeared in a number of Berger’s collections, the last of which, Portraits (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’ (Portraits 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.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.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}

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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

{"title":"The Success of The Success and Failure of Picasso","authors":"Henry Hitchings","doi":"10.1111/criq.12697","DOIUrl":"10.1111/criq.12697","url":null,"abstract":"The Success and Failure of Picasso appeared in 1965, three years after John Berger left England for Switzerland. By the time of the move he was established as a combative art critic, but for the next few years he concentrated on writing fiction. His biographer Joshua Sperling describes ‘the quiet of exile’ – ‘projects unfurl with greater patience’, ‘a séance with the past becomes easier’, ‘voices a metropolis would drown out can be heard’.1 It cannot have been a period of uninterrupted contemplation, though, since Berger and his partner Anya Bostock, employed in Geneva at the United Nations, had two children in 1962 and 1963.Written against the background of the early years of parenthood, the book often proceeds in a straightforward, stern manner redolent of the twilit gruffness one feels in the presence of small children and tries hard not to inflict on them. Berger argues that Picasso was a thrillingly rebellious visionary, but only for about ten years of his long life (1881–1973). In 1907, he ‘provoked Cubism’2 – the italics are Berger’s, indicating his view that the artist was far from being this iconoclastic movement’s architect or philosopher-in-chief. But Picasso exulted in the spirit of the moment, becoming the most energetic driver of ‘a revolution in the visual arts as great as that which took place in the early Renaissance’.3It was in 1907 that Picasso produced Les Demoiselles d’Avignon, an angular and aggressive painting of five naked prostitutes, not exhibited till 1916. Berger describes this large oil as ‘clumsy, overworked, unfinished’, yet acknowledges that its sheer brutality is astonishing. It constituted a ‘frontal attack’ on ‘life as Picasso found it – the waste, the disease, the ugliness, and the ruthlessness’. Berger likens the witchy women in the painting, three of whom glare at the viewer, to ‘the palings of a stockade through which eyes look out as at a death’.4 This is art as insurrection.The next few years, during which Picasso found himself fruitfully participating in a group that included Georges Braque, Fernand Léger and André Derain, were ‘a period of great excitements, but also a period of inner certainty and security’. This was ‘the only time when Picasso felt entirely at home’,5 and it is when Berger is most at home with Picasso, finding him purposeful, attuned to others’ minds, desires and needs.He locates the best of the artist in a work such as Still-life with Chair Caning (1912). This small oval piece may seem an odd choice for high praise, and he misses its playfulness. What he most explicitly admires is its clarity: ‘Nothing comes between you and the objects depicted’, and ‘the substance and texture of the objects is freshly emphasized’.6 He finds in the painting an invitation to unpick the logic of how we look at it.In this context it’s worth noting that Berger dedicated Th","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"75-81"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12697","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43984721","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