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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

{"title":"John Berger’s Knowledge, or Listening in to the Voice of the (Female) Image","authors":"Marina Warner","doi":"10.1111/criq.12703","DOIUrl":"10.1111/criq.12703","url":null,"abstract":"In the introduction to his 1979 novel Pig Earth, John Berger declares, ‘this trilogy has been written in a spirit of solidarity with the so-called “backward”, whether they live in villages or have been forced to a metropolis. Solidarity, because it is such men and women who have taught me the little I know.’1 Pig Earth is the first of the three novels, collectively known as Into their Labours; together with the other two – Once in Europa (1987) and Lilac and Flag (1990) – the sequence picks up the themes of A Seventh Man (1975), Berger’s documentary account of migrant labourers, but he has taken a different approach, and reimagined his material as fiction. Berger the documentarist and social historian has adopted here the role of the griot or bard, a keeper of a community’s memories, and decided to tell their stories, weaving a rich fabric around certain characters, and following them and their descendants through the vicissitudes and displacements of their lives. The overarching theme of the trilogy is labour: the books’ epigraph (the same in each one) comes from the gospel of St John, ‘Others have laboured and ye are entered into their labours.’ (John 4:38). The knowledge that Berger is collecting through his subjects, as he sets out to honour them, is knowledge of survival on the land, in an Alpine valley, as well as knowledge of love, of family and sex, but not only. The books also follow their subjects as they leave for work in the big city and its satanic mills, and vividly recreates the lives of several women.There are no women in A Seventh Man (only pin-ups on the workers’ walls and a few glimpses), and almost none in his earlier book, A Fortunate Man (1967). Fiction cleared a way for Berger to bring women into the light; in a novel, he could explain (away) the macho code that prevailed by featuring female characters – luminaries – who defy it and show up its hollowness, often infusing the prose with an erotic charge that’s more familiar from high romanticism. In Pig Earth, the Cocadrille, an outcast figure in an already marginalised community, radiates erotic magnetism; in local lore, the nickname recalls the basilisk, which kills anyone with its stare; she is a Medusa, and witchlike in her unrivalled understanding of natural properties, able to amass a fortune through an unerring nose for mushrooms. She is one of several enthralling and poignant, even tragic figures, around whom Berger arranges anecdotes, fables, horrors, journeys, loves and vendettas. I say arranges, rather than invents, because Berger uses the word to express his approach to an image he is exploring: 'I hope you will consider what I arrange, but please, be sceptical of it.’2The books are categorised as novels, but they are poised in an in-between territory of memory and arrangement. This intermediate genre between memoir and imagination doesn’t presage a","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"131-137"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12703","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43029131","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

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

A fortunate Man: The Story of a Country Doctor 一个幸运的人:一个乡村医生的故事

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12709

Sophie Elmhirst

引用次数: 0

Learning to Look: Berger’s Lessons 学习观察：伯杰的经验教训

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12701

Joshua Craze

引用次数: 0

“It’s Fucking Obvious!” “太明显了！”

IF 0.2 4区文学

CRITICAL QUARTERLY Pub Date : 2023-04-27 DOI: 10.1111/criq.12698

Maria Horvei

{"title":"“It’s Fucking Obvious!”","authors":"Maria Horvei","doi":"10.1111/criq.12698","DOIUrl":"10.1111/criq.12698","url":null,"abstract":"Here’s a question: are the visual essays that make up almost half of Ways of Seeing important to Ways of Seeing? Fifty years ago, as the book was being made, only one person seemed to think so: Sven Blomberg, the ‘tall Swede’ brought in by John Berger as an ‘outside eye’ on the process.1 An artist himself, Blomberg was the only one of the five people whom Berger credited with turning Ways of Seeing into a book who had neither worked on the television series nor had any experience in making books. Let’s tally the others. Mike Dibb had been the series producer and director, Chris Fox its script consultant. Richard Hollis, responsible for the book’s design (later made ‘horrible’, in Hollis’s own words, by its inclusion and redesign for the Penguin On Design series),2 had recently worked with Berger on his novel G, and was recognised as one of the most daring graphic designers of his generation. And then there was Berger: writer and presenter of the television series and the one whose name was on the cover. As for Blomberg … Well, he certainly was close to Berger. Talking to Juliette Kristensen for an anniversary issue of the Journal of Visual Design dedicated to Ways of Seeing, Dibb described Blomberg as ‘a close friend of John’s, an impoverished artist whom John wanted to help and thought would add something fresh to the book’. Hollis recalled: ‘He was rather a confusion because he made these montages of various things. I remember Mike saying to him “Sven, I don’t quite understand what it is that this is trying to say.” And Sven just said, “It’s fucking obvious!” And then went and stood on the balcony.’3The montages were to become the book’s ‘purely pictorial essays’ – or as Dibb put it: ‘little visual essays that meant more, I think, to [Blomberg] than to everybody else’.4 Later, Hollis said that Berger ‘more or less approved’ of Blomberg’s essays, which Blomberg brought in as large sheets of paper with reproductions pasted on them. Dibb and Hollis were then assigned the task of fitting them into the pages of the book, tidying them up and ‘maybe editing them’. But they always struggled to understand their relevance.5The pictorial essays certainly raised questions before publication. What happened next? The book’s fame and impact, taken along with the television series, grew to a level that makes it hard to measure. In the words of Berger’s biographer Joshua Sperling, Ways of Seeing became ‘so influential as to seem now, in retrospect, almost out of date – its influence disseminated, internalized, and since moved on from by the culture’,6 but the pictorial essays tend to be acknowledged in passing rather than subjected to in-depth analysis in most discussions of the work. There is one possible explanation: while the pictorial essays were intended to raise ‘as many questions as the verbal essays’, they also raise","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 1","pages":"89-95"},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12698","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46157785","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