Academic literature on the topic 'Criticism and interpretationDabydeen, David'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Criticism and interpretationDabydeen, David.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Criticism and interpretationDabydeen, David"
1
Staudt, Kathleen Henderson, William Blissett, David Jones, Neil Corcoran, Thomas Dilworth, and Elizabeth Ward. "Recent Criticism on David Jones." Contemporary Literature 27, no. 3 (1986): 409. http://dx.doi.org/10.2307/1208354.
Full text
2
Jeffries, Carla H., Matthew J. Hornsey, Robbie M. Sutton, Karen M. Douglas, and Paul G. Bain. "The David and Goliath Principle." Personality and Social Psychology Bulletin 38, no. 8 (April 26, 2012): 1053–65. http://dx.doi.org/10.1177/0146167212444454.
Full textAbstract:
Two studies documented the “David and Goliath” rule—the tendency for people to perceive criticism of “David” groups (groups with low power and status) as less normatively permissible than criticism of “Goliath” groups (groups with high power and status). The authors confirmed the existence of the David and Goliath rule across Western and Chinese cultures (Study 1). However, the rule was endorsed more strongly in Western than in Chinese cultures, an effect mediated by cultural differences in power distance. Study 2 identified the psychological underpinnings of this rule in an Australian sample. Lower social dominance orientation (SDO) was associated with greater endorsement of the rule, an effect mediated through the differential attribution of stereotypes. Specifically, those low in SDO were more likely to attribute traits of warmth and incompetence to David versus Goliath groups, a pattern of stereotypes that was related to the protection of David groups from criticism.
3
Strohm, Paul. "Medieval Literature: Criticism, Ideology and History. David Aers." Speculum 63, no. 2 (April 1988): 352–54. http://dx.doi.org/10.2307/2853226.
Full text
4
Siedell, Daniel A., and David Carrier. "Rosalind Krauss, David Carrier, and Philosophical Art Criticism." Journal of Aesthetic Education 38, no. 2 (2004): 95. http://dx.doi.org/10.2307/3527320.
Full text
5
Finch, James. "The Interview as Criticism: David Sylvester's Artist Interviews." Biography 41, no. 2 (2018): 179–98. http://dx.doi.org/10.1353/bio.2018.0019.
Full text
6
Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
Full textAbstract:
The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
7
Siedell, Daniel A. "Rosalind Krauss, David Carrier, and Philosophical Art Criticism." Journal of Aesthetic Education 38, no. 2 (2004): 95–105. http://dx.doi.org/10.1353/jae.2004.0021.
Full text
8
Downs, Jack M. "DAVID MASSON, BELLES LETTRES, AND A VICTORIAN THEORY OF THE NOVEL." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 1–21. http://dx.doi.org/10.1017/s106015031400031x.
Full textAbstract:
It might seem bold, or even presumptuous, to assert that there is a clearly identifiable unified theory of the novel present in any aspect of Victorian literary culture. As John C. Olmsted rightly observes, assessing the presence of any specific and consistent critical stance in Victorian criticism is a difficult task; thus, any attempt to evaluate Victorian criticism of the novel is problematic. Victorian periodical criticism is inconsistent, [and] most of it is deservedly forgotten. . . . The reader [of early Victorian novel criticism] finds he must take into account the prejudices of individual reviewers, the political affiliation of the periodical in which a review appears and, all too often in the 1830s, the ties that journals and reviewers had with publishing houses. (Olmsted xiii–xiv) Another problem in assessing Victorian novel criticism lies in the aggressively non-theoretical stance of many Victorian critics. Edwin Eigner and George Worth characterize Victorian criticism of the novel as “written by highly intelligent reviewers and essayists . . . [most of whom] rather prided themselves on the non-theoretical character of their intellects” (1). The absence of theory – perceived or in actuality – in Victorian criticism makes the task of identifying common theoretical concerns and systematic approaches a difficult proposition.
9
Kilcup, Karen L. "Fresh Leaves: Practicing Environmental Criticism." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 847–55. http://dx.doi.org/10.1632/pmla.2009.124.3.847.
Full textAbstract:
Ecocide is more of a threat than nuclear war.—Lawrence BuellIt is worth noting that [environmental destruction] is not the work of ignorant people. Rather, it is largely the result of work by people with BAs, BSs, LLBs, MBAs, and PhDs.—David OrrI cannot identify what sparked my environmental awareness. The romantic in me invokes childhood with an ardently outdoor maternal grandfather, who taught me to distinguish a beech tree from a birch, to plant potatoes, and to welcome the tree frogs' spring chorus with awe and delight. More likely, the recognition arrived not from childhood pleasures or reading Henry David Thoreau but from something as quotidian and cumulative as exhaustion from years of commuting from New Hampshire to Boston for work as an adjunct, sucking exhaust fumes on Route 128.
10
Seguin. "Form, Voice, and Utopia in David Foster Wallace." Criticism 62, no. 2 (2020): 219. http://dx.doi.org/10.13110/criticism.62.2.0219.
Full textDissertations / Theses on the topic "Criticism and interpretationDabydeen, David"
1
Finch, James. "The art criticism of David Sylvester." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60419/.
Full textAbstract:
The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d'Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester's criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester's entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention. I take a twofold approach, analysing both the quality of Sylvester's writing and criticism, and its function as a catalyst for furthering the careers of artists and instigating significant exhibitions. Common to all of these strands is Sylvester's distinctive critical sensibility, which placed an emphasis on his own aesthetic experiences and how they could be articulated through criticism.
2
Jackson, Edward William. "David Foster Wallace's hideous neoliberal spermatics." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8538/.
Full textAbstract:
This thesis investigates male sexuality and neoliberalism in the work of David Foster Wallace. I argue that his texts conceive of male sexuality through neoliberal logics regarding responsibility, risk, contract, property, and austerity. Informing such conceptions are spermatic metaphors of investment, waste, blockage, and release. These dynamics allow Wallace’s texts to ground masculinity in an apparently incontestable sexual hideousness, characterised in particular by negativity and violence. By figuring male sexuality as a neutral economic issue, and one that lends itself to spermatic metaphors, his fiction and nonfiction present such hideousness as a fact to be accommodated for rather than changed. My analysis is broadly revisionist. I depart from readings that stress his texts’ opposition to neoliberalism by showing how they are embedded in, and complicit in reproducing, its key logics. I also nuance considerations of Wallace’s gender politics by arguing that their sexual traditionalism is indicative of an attachment to male hideousness, not their author’s intentions or failings. In these ways my thesis evaluates the complex pessimism animating Wallace’s treatment of male sexuality. I trace the interaction between neoliberal logics and spermatic metaphors throughout his oeuvre to consider how and why Wallace presents male sexuality as being so immutably rotten.
3
Garcia-Sheets, Maria. "An ideological criticism of David Duke's rhetoric of racism and exclusion." Scholarly Commons, 1999. https://scholarlycommons.pacific.edu/uop_etds/525.
Full textAbstract:
This study focuses on the rhetoric of racial politics and the ideology of exclusion it produces. This study analyzes the political rhetoric constructed by David Duke, white supremacist, disavowed neo-Nazi, Ku Klux Klan member, and former Louisiana State Representative. The topics of affirmative action, reverse discrimination, immigration, and welfare were chosen for analysis. Using ideological criticism, this study reveals the role Duke pays in America's increasingly exclusionary political environment.
Specifically, this study uses the concepts employed by Louisa Martin Rojo in exploring the rhetorical process of demonization which is used to turn someone or something into an enemy. The process needed to demonize an enemy involves two rhetorical strategies: division and rejection. Division establishes the opposing categories in the conflict, manifesting itself as an arguments between "us verses them" or "good verses evil." Rejection further demonizes the enemy by rhetorically marginalizing, segregating, or creating a negative image about them.
Through his rhetoric, Duke strives to provoke feelings of resentment by utilizing demonization to reject and divide whites from minorities. In his rhetoric, Duke excludes people of color from society by portraying affirmative action as minority special privilege, reverse discrimination as white exclusion, welfare as a bastion of illegitimacy, and immigration as the downfall of American culture. Attempting to exclude minorities from society, Duke moves beyond Rojo's concept of demonization and uses scapegoating to blame minorities for America's social ills. By using people of color as a scapegoat, Duke effectively excludes them from participating in the debate over social concerns.
4
Santos, Hamilton Fernando dos. "Gosto e Filosofia em David Hume." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-28032013-104330/.
Full textAbstract:
Trata-se de investigar a posição de Hume no debate travado no século XVIII acerca do problema do gosto. A questão do gosto encontra-se difusa em boa parte da obra do filósofo escocês, mas é no ensaio Do Padrão do Gosto (1757) que Hume se detém no estudo do modo pelo qual os homens elaboram padrões ao fazerem julgamentos estéticos. Neste ensaio - objeto central desta dissertação -, Hume assinala a extrema variedade de gostos que há no mundo e nota que tanto a beleza quanto a deformidade dependem de como cada um as sente. Assim, nada poderia ser dito feio ou belo, imperando o completo relativismo estético. A pesquisa pretende analisar as articulações por meio das quais Hume resolve essa ameaça cética que paira sobre a crítica do gosto.The following dissertation is an investigation of the position of David Hume concerning the question of taste in the 18th century. The issue of taste is widespread in much of the Scottish philosopher\'s works, but particularly in his essay Of the Standard of Taste (1757) he studies the way in which people elaborate patterns to make aesthetic judgments. In the essay the object of this dissertation Hume notes the great variety of tastes which prevails in the world and he also notes that the concepts of beauty and deformity depend on how each of them is experienced. Therefore, nothing can be said to be ugly or beautiful, according to this aesthetic relativism. This paper will examine the arguments Hume articulates in addressing and resolving the threat this skepticism poses to the notion of taste and to the possibility of art criticism.
5
Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.
Full textAbstract:
This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly .My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology.
In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.
6
Haspel, Jane Seay. "Dirty Jokes and Fairy Tales: David Mamet and the Narrative Capability of Film." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278457/.
Full textAbstract:
David Mamet is best known as a playwright, but he also has a thriving film career, both as screenwriter and as director. He has taken very seriously each of these roles, formulating theories that, he suggests, account for the creative choices he makes. Though Mamet sometimes contradicts himself, as when he suggests that viewers should have the satisfaction of constructing their own meaning of a work, but at the same time is devoted to montage, which works by juxtaposing images that lead to a single interpretation, he clearly sees the story as a critical avenue into the spectator's unconscious, where he hopes it will resonate with a truth that speaks directly to the individual. His films House of Games, Things Change, and Homicide clearly reflect his ideas on the best ways of conveying a story on film. In House of Games, Mamet draws on Bruno Bettelheim's theories to construct a fairy tale designed to act on adult viewers in the same way that fairy tales act on the child. In Things Change, he creates a fable that explores issues of friendship and honor within the milieu of the gangster genre. And in Homicide, Mamet uses the expectations viewers bring to the theatre in anticipation of a genre film to explore themes of loyalty and identity. In Oleanna, however, Mamet relies heavily on exposition and dialogue, rather than the visual elements that separate the film from drama, which renders the film the antithesis of his long-held philosophy of film narrative. Mamet's best film work, in House of Games and Homicide, has been innovative and thought-provoking, bringing depth to the new noir and redefining the cop film. His work in Oleanna, though it may prove to be an anomaly, may suggest a surrender of his principles of filmmaking or a reformulation of them to fit some new vision.
7
Gordon, Rhona. "Housing matters in the texts of Gordon Burn, Andrew O'Hagan and David Peace." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/6088/.
Full textAbstract:
This thesis examines the representations of housing in the fiction and non-fiction texts of Gordon Burn, Andrew O’Hagan and David Peace. This thesis will explore the relationship between housing and class in all three writers’ work and consider the ways in which housing displays and conceals class. These three writers have never been critically examined together, and their similar subject matter provides interesting points of contrast and comparison. ‘Housing. The Greatest Issue of Our Poor Century’ writes Andrew O’Hagan in his novel Our Fathers (1999) and this is a sentiment shared by Burn and Peace throughout their texts. All three writers depict the ways in which housing has changed over the course of the twentieth century, as against the slum clearances of post-World War II Britain, Modernist tower blocks were erected. Against these visual changes there was a sustained campaign, by all major political parties, to increase home ownership. A succession of Acts throughout the latter half of the twentieth century saw council houses being sold to tenants and a subsequent decrease in the construction of council houses. These Acts promoted, and made easily achievable, home ownership and ingrained within society the idea that owning property was a symbol of success and security. By examining changes in housing Burn, Peace and O'Hagan consider the fate of the working-class in the latter half of the twentieth century, and this thesis will explore to what extent, and in what ways, housing displays and conceals class. Chapter One will consider the changes in housing policy over the latter half of the twentieth century and the ways in which government policy affected issues of class. This chapter will look at the ways in which Burn, Peace and O’Hagan consider issues of class and will argue that by examining issues of housing all three are examining the fate of the working-class. Issues of housing are inexorably linked with issues of class and this chapter will form the basis on which the remaining chapters’ arguments are based. Chapter Two will explore issues of housing in the cases of Yorkshire Ripper Peter Sutcliffe and Fred and Rosemary West, specifically the ways in which housing both concealed and motivated their crimes and how in turn assumptions about class hide their murders within plain sight. Chapter Three will examine the construction of high-rise tower blocks and the ways in which the creation of housing allowed for social crimes to be committed for both political and economic gain by various individuals. Chapter Four will look at the underground spaces of the houses featured in the previous chapters and will consider to what extent the underground reflects the issues of the over-ground and the significance of the underground in debates about class. The final Chapter, Chapter Five, will look at depictions of the celebrity house and will consider how the house of the celebrity fits into narratives of twentieth century housing and how the inhabitants are as hidden and revealed as their working-class counter parts.
8
Latouche, Pierre-Edouard. "L' art de choisir un sujet dans la peinture d'histoire de Jacques-Louis David (1748-1825)." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26236.
Full textAbstract:
The choice of subject for a history painting, long considered motivated by dramatic considerations, appears to be also, in the light of numerous documents, the expression of the painter's craft. The following study will attempt to demonstrate this aspect in the oeuvre of Jacques-Louis David and, in particular, in The Oath of the Horatii.
9
Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.
Full textAbstract:
Bibliography: pages 217-232.Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
10
Baker, David, and n/a. "Of Unprincipled Formalism: Readings in the Work of David Malouf and Peter Carey." Griffith University. School of Humanities, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040616.120642.
Full textAbstract:
This thesis develops a critical reading methodology entitled unprincipled formalism. This methodology is tested in close readings of three relatively contemporary Australian literary texts: David Malouf's short story "A Traveller's Tale" (1986) and novella Remembering Babylon (1994), and Peter Carey's short story "The Chance" (1978). Unprincipled formalism is developed in relation to three broad contexts: the fragmented state of the contemporary discipline of literary studies; the complex of international economic and social phenomena which goes under the general rubric of globalisation; and the specific Australian left-liberal literary critical tradition which I have termed, for convenience sake, the Meanjin literary formation. Unprincipled formalism does not draw a distinction between form and content. Unprincipled formalism is a critical methodology that is both avowedly socially concerned and strictly formalist. It is concerned with articulating and analysing the particular social and political interventions made by literary texts (as well as the resultant critical discussion of those texts) through a consideration of the formal techniques by which literary texts situate themselves as acts of communication. Principal among these techniques is the mise en abyme. The thesis provides a detailed analysis of debates around the mise en abyme informed by the work of theorists such as Ross Chambers, Lucien Dallenbach, Frank Lentricchia, Moshe Ron, Jacques Derrida and others. Politically, unprincipled formalism attempts to steer a middling course between neo-liberal triumphalism on the one hand and nostalgic left romanticism on the other. This involves on the one hand a critique of neo-liberalism drawing on the work of Charles Taylor, Stephen Holmes, John Frow and others, and on the other a critique of a nostalgic romantic tendency in "progressive" critical technologies such as postmodern and postcolonial literary studies.
Books on the topic "Criticism and interpretationDabydeen, David"
3
Bernard, Bergonzi. David Lodge. Plymouth, U.K: Northcote House in association with the British Council, 1995.
Find full textBook chapters on the topic "Criticism and interpretationDabydeen, David"
1
Streminger, Gerhard. "David Hume’s Criticism of Traditional Ethics." In Norms, Values, and Society, 261–77. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-017-2454-8_20.
Full text
2
Gafni, Chanan. "Samuel David Luzzatto and Abraham Geiger on the Textual Criticism of the Bible: Continuity or Conflict?" In Deutsch-jüdische Bibelwissenschaft, edited by Daniel Vorpahl, Sophia Kähler, and Shani Tzoref, 161–70. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110551631-011.
Full text
3
"8. The pains and pleasures of David Copperfield." In Mediating Criticism, 263. Amsterdam: John Benjamins Publishing Company, 2001. http://dx.doi.org/10.1075/z.108.15the.
Full text
4
"Narrative Criticism." In The Fate of Saul's Progeny in the Reign of David, 63–110. The Lutterworth Press, 2012. http://dx.doi.org/10.2307/j.ctt1cgf3qc.10.
Full text
5
"DAVID MALLET, textual criticism attacked, 1733." In William Shakespeare, 33–40. Routledge, 2002. http://dx.doi.org/10.4324/9780203197912-5.
Full text
6
"David Scott Kastan From codex to computer; or, presence of mind, from Shakespeare." In Modern Criticism and Theory, 747–68. Routledge, 2014. http://dx.doi.org/10.4324/9781315835488-52.
Full text
7
"David Lodge: A Therapy for the Self." In Volume 12, Tome IV: Kierkegaard's Influence on Literature, Criticism and Art, 149–72. Routledge, 2016. http://dx.doi.org/10.4324/9781315234816-15.
Full text
8
"the aesthetics and ethics of eco-film criticism david ingram." In Ecocinema Theory and Practice, 55–74. Routledge, 2012. http://dx.doi.org/10.4324/9780203106051-7.
Full text
9
Thomas, Richard F. "David Roy Shackleton Bailey 1917–2005." In Proceedings of the British Academy, Volume 153 Biographical Memoirs of Fellows, VII. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264348.003.0001.
Full textAbstract:
David Roy Shackleton Bailey (1917–2005), a Fellow of the British Academy, was a prodigious scholar, a towering figure in textual criticism and the editing and translating of Latin literature, and a brilliant student of Roman Republican history, prosopography, and society. His work amounts to some fifty volumes and more than 200 articles and reviews. Shackleton's own prose style, whether in translations of Cicero, justifying an emendation, or just in correspondence is a delight to read, and frequently quotable. Born in Lancaster on December 10, 1917 to Rosamund Maude Giles and John Henry, he had always been attracted to the poet Horace. However, Shackleton's name is most closely associated with that of Cicero, whose letters in their entirety and speeches selectively he edited, with translation and commentary.
10
Onians, J. "Michael David Kighley Baxandall 1933–2008." In Proceedings of the British Academy, Volume 166, Biographical Memoirs of Fellows, IX. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264751.003.0002.
Full textAbstract:
Michael Baxandall was probably the most important art historian of his generation, not just in Britain but in the world. In a series of books published between 1971 and 2003 he kept expanding the frontiers of the discipline, introducing new topics, new ways of writing, and new explanatory models, always demanding of himself and his readers an undissembling clarity of thought and expression. If art history is now a field that can hold its own with more established areas of the humanities, it is largely because Baxandall had a talent to transmit to others through the printed page the powerful intellectual resources he had built up through tireless inward reflection. These resources he applied with equal engagement to Italian Renaissance art criticism, German wood sculpture, the understanding of shadows in the 18th century, the planning of the Forth Bridge, and the functions of the neural structure of the retina.