Critical Writings Research Articles

Study on Critical Writings Using the Inference of Implicit Meanings in Advertisements

본 연구는 함축적 의미를 내포하는 광고를 활용하여 추론적 사고를 통한 텍스트 읽기를 학습하고, 이를 비평 글쓰기까지 연계하는 과정을 모색하는 논의를 진행하였다. 함축적 광고 언어에서의 의미를 추론하기 위한 과정이 어떻게 진행되는지를 살피고, 그 과정에서의 맥락이 의미 추론에 어떻게 반영되는지에 주목하여 살펴보았다. 함축적인 광고일수록 언어적 정보는 모호하고 그 정보의 양이 부족할 수 있다. 따라서 언어적인 정보와 비언어적인 정보 간의 융합적인 해석이 이루어지는 과정을 거쳐야만 광고주가 의도한 보다 명확하고 온전한 의미 해석으로의 접근이 가능하게 된다. 이를 바탕으로 학습자가 함축적 광고의 의미 확인을 직관적인 접근의 단계를 넘어, 맥락을 구성하는 요소들을 확인하고 그러한 요소들의 단계적 접근을 통해 보다 타당한 추론이 가능하도록 지도해야 할 것을 제시하였다. 또한 교수자의 피드백을 받은 추론적 읽기를 거쳐 글쓰기 과정으로 연계하면 학습자는 자신의 사고를 구체화할 수 있으며, 이 과정에서도 타당성을 검토하며 보다 논리적인 주장을 내포한 글쓰기를 진행할 수 있도록 지도하는 방안을 수업 사례를 통하여 제시하였다.This thesis discusses how to read texts reading through inferential thinking using advertisements with implicative meanings and how to link them to critical writing. This paper explores the process to reason the implicit meanings in the implicative advertising language, mainly focusing on how the context in the process is reflected in inferring meaning. It is possible that the more implicit the advertisement is, the more ambiguous and less informative its language is. Therefore, for approaching more clear and full meaning that advertiser intended, the process is required to interpret verbal and non-verbal information in a convergent way. Based on this, it is suggested that the learner should be guided to go further beyond the stage of intuitive approach to the implicative meaning of the advertisement to identify the elements composing the context and to take a phased approach to such elements for more efficient reasoning. As inferential reading with feedback from the instructor is connected to the writing process, the learner can specify his or her thinking. Therefore, through the case study, this paper suggests ways to guide the writing process with more logical arguments examining their feasibility.

Kunstværket som kontraværdi – Asger Jorns kritik af Marx’ økonomistiske værditænkning i Kapitalen

THE WORK OF ART AS COUNTER-VALUE: ASGER JORN'S CRITIQUE OF MARX'S ECONOMISK VALUE-THINKING IN CAPITALAs one of the rather significant and influential Modernist and Avant-garde artists of the 20th century Asger Jorn is internationally well-known and admired. Lesser known – or lesser accepted in the reception of his work – is the fact that his many critical writings on art, philosophy, and politics as well as his archives and political activism are integrated and important parts of his entire artwork. For the first time in the reception of Jorn’s critical thinking the essay examines his Situationist criticism of Marx’ concepts of value, as outlined in the commodity analysis in Capital vol. 1, by regarding it a crucial example of his understanding of counter value as the only or most prominent quality of the artwork as such.

Kant and the Promise of Rhetoric

Kant and the Promise of Rhetoric

Unconscious Representations in Kant’s Early Writings

AbstractThere is an emerging consensus among interpreters that in his Critical writings Kant ascribes unconscious representations to the mind. The nature and extent of this ascription over the course of Kant’s philosophical development is however not well understood. I argue that from his earliest published writings Kant consistently ascribes unconscious representations to the mind; that some of these representations are unconscious in the strong sense that they are not available to introspection; and that Kant extends his commitment to unconscious representations by ascribing to the mind unconscious acts of judging and reasoning.

The Bedridden Script Doctor: Itami Mansaku’s Scenario Reviews

ABSTRACTThe director and scriptwriter Itami Mansaku was a major proponent of the revisionist movement in prewar Japanese period film. However, with only a handful of his screen works surviving, Itami’s reputation arises mostly from his contemporaries’ accounts and his own critical writings. Caught between the restrictions imposed by a debilitating illness and government censorship, during the war years Itami strived to stay in touch with the Japanese film world by continuing to work on scripts as well as write criticism from his sickbed. This article discusses Itami’s creative and critical efforts, which were to have a considerable impact on subsequent Japanese filmmakers. Particular attention is paid to examining Itami’s scenario reviews, serialised in the journal Japanese Cinema between 1941 and 1942, where he took an actively interventionist stance quite different from what is conventionally allowed for film criticism.

Political Virtue and Capital Repatriation: A Jacobite Agenda for Empire

This article analyses the global vision of the Jacobite Field-Marshal James Keith and his critique of the imperial aspirations of Britain and other leading European powers. His critical writings between 1748 and 1756 will be discussed and his promotion of a rational and liberal imperial agenda will be subject to scrutiny, as will his idea that commerce opened up the prospect for accumulation and repatriation of capital. Keith's scepticism that replacement of the Hanoverians by the exiled Stuarts would accomplish necessary moral reformation achieved by enlightened despotism in Prussia is also a key theme of the article. Scepticism is also applied to Keith's global vision. Can his compounding of political virtue with capital repatriation be regarded as a workable Jacobite agenda? This question will be examined with respect to rival agendas but mainly through the vehicle of case studies for Scottish engagement with Empire in the mid-eighteenth century.

A Study on the Effect of VTS Teaching Method using Art Critical Writing Activities

A Study on the Effect of VTS Teaching Method using Art Critical Writing Activities

A tradução intersemiótica de Hamlet para os quadrinhos: o solilóquio “Ser ou não ser”

Mais de 400 anos depois, o legado de William Shakespeare continua pulsando vivo no âmago da sociedade, graças às inúmeras (re)edições e traduções de seus livros, às encenações de suas peças em teatros de todo o mundo e à grande variedade de adaptações, seja para o cinema, balé, ópera ou para os desenhos animados, videogames e histórias em quadrinhos. Nesse contexto, é que o fantasma do príncipe da Dinamarca regressa. A presente pesquisa propõe-se a analisar a tradução da peça de teatro Hamlet, de William Shakespeare, para os quadrinhos da coleção Mangá Shakespeare da editora inglesa SelfMadeHero, disponíveis em português brasileiro pela Galera Record. Dentre outros pontos, serão abordados aspectos gerais da transposição; cotejo das principais características da obra com respeito a tema, trama, desenho dos personagens e linguagem; e aspectos externos que influenciam a adaptação, tais como o conhecimento das editoras e dos atores envolvidos no processo. Para tanto, serão utilizados como referencial teórico o conceito de tradução intersemiótica - ou transmutação - de Roman Jakobson (2015), complementado por Julio Plaza (2008); o conceito de reescrita, de André Lefevere (2007); bem como a fortuna crítica do referido corpus e da linguagem dos quadrinhos, em especial, dos mangás.

Music, Morality, and Genre in Tang Poetry

Abstract The relationship between music and Tang poetry is a topic of ongoing interest, usually approached from the perspective of individual genres. This article considers the relationships of three major genres of Tang poetry to music, morality, and one another to argue that musical and ethical considerations were important factors in the waxing and waning of those genres. By the mid-Tang, and perhaps much earlier, the musical system for Han and Six Dynasties yuefu poetry had been lost. Citing poems, critical writings, and histories of such poets as Shen Yue, Yuan Jie, Bai Juyi, Yuan Zhen, and Li Qingzhao, however, this article shows how yuefu, shi, and quzi ci poets reappropriated the idea of “music bureau” pieces to experiment with, and stand in for, even older, Confucian ideals on the relationship of lyrics to music and morality. By citing examples where ethical considerations prompted poets and musicians to reinvent and reinterpret older forms, this article complicates the notion of a straight line of development from folk song to literati imitation to antiquarian exercise.

Richard F. Calichman. Beyond Nation: Time, Writing, and Community in the Work of Abe Kōbō. Stanford, Calif.: Stanford University Press, 2016. 288 pp.

Previous articleNext article No AccessThe CI ReviewRichard F. Calichman. Beyond Nation: Time, Writing, and Community in the Work of Abe Kōbō. Stanford, Calif.: Stanford University Press, 2016. 288 pp.Michael K. BourdaghsMichael K. Bourdaghs Search for more articles by this author Michael Bourdaghs is professor in East Asian Languages and Civilizations, University of Chicago. He is the author of Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop (2012; Japanese trans. 2012) and The Dawn That Never Comes: Shimazaki Toson and Japanese Nationalism (2003). He is also active as a translator, including Kojin Karatani, The Structure of World History: From Modes of Production to Modes of Exchange (2014) and his cotranslation of Natsume Soseki, “Theory of Literature” and Other Critical Writings (2009).PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 44, Number 3Spring 2018 Article DOIhttps://doi.org/10.1086/696902 Views: 108Total views on this site © 2018 by The University of Chicago. All rights reserved. For permission to reuse, contact [email protected]PDF download Crossref reports no articles citing this article.

The Benefits of Formative Feedback for Critical Writing in EFL Context

The Benefits of Formative Feedback for Critical Writing in EFL Context

Enhancing Criticality in EFL Learners through Active Critical Writing Program

Enhancing Criticality in EFL Learners through Active Critical Writing Program

Nina Baym: June 14, 1936—June 15, 2018

Nina Baym: June 14, 1936—June 15, 2018

The Social Life of Criticism: Gender, Critical Writing, and the Politics of Belonging by Kimberly J. Stern (review)

Reviewed by: The Social Life of Criticism: Gender, Critical Writing, and the Politics of Belonging by Kimberly J. Stern Marysa Demoor (bio) The Social Life of Criticism: Gender, Critical Writing, and the Politics of Belonging, by Kimberly J. Stern; pp. viii + 240. Ann Arbor: University of Michigan Press, 2016, $70.00. Kimberly J. Stern’s starting premise in The Social Life of Criticism: Gender, Critical Writing, and the Politics of Belonging is that gathering societies like clubs and coffee houses actually found their discursive avatar in the periodical: “criticism was consistently and explicitly presented as a collective enterprise” (3). Most of the extant reminiscences and studies of the phenomenon deal with men’s clubs, assuredly its best known format. Past research of these networks, like Morton Cohen’s, also focused on the club connections between men of letters, such as the meetings of journalists, editors, and publishers at the Savile Club. In recent years, several studies have uncovered the importance of networks of women writers too. Stern’s book continues that research while acknowledging a number of other key works. The word “Gender” in the subtitle therefore really means women since the male journalists are moved to the margin or are referenced by their invisible “good practices” (97). Admittedly, I was somewhat disappointed not to see my own work, Their Fair Share: Women, Power and Criticism in the Athenaeum, from Millicent Garrett Fawcett to Katherine Mansfield, 1870–1920 (2000), among her sources, especially since it deals to some extent with Vernon Lee’s contributions to the weekly. More importantly, perhaps, Stern does not use Fionnuala Dillane’s brilliant study of George Eliot’s entanglement with and contribution to the Westminster Review (1824–1914) (Before George Eliot: Marian Evans and the Periodical Press [2013]). That said, there is no doubt that Stern’s book significantly adds to our understanding by taking her analysis into new directions. Hers is also an inclusive study, starting with mid-eighteenth-century culture and ending with an analysis of Virginia Woolf’s take on criticism and with Stern’s observations on women’s criticism now. [End Page 642] At the very start, however, Stern declares her main claim to be that “nineteenth-century female critical consciousness depended implicitly upon a social and at times even sociological understanding of the profession” (3). One of her interesting bypaths, therefore, involves the activities of women writers as society hostesses, famous for their salons and able to draw in a mix of the intellectual elite of the day and thus stimulate an evolving critical thinking. Nowhere is the link between clubs and periodicals more explicit than in the periodicals directly emerging from the bourgeoning club life, such as the little-known and short-lived periodical Echoes from the Clubs (1867–68). Although this only covered men’s clubs it also contains proof of the changing times. The June 1867 issue published a letter by a woman reader with the pseudonym Oneida that starts by imploring the editor: “Pray Sir, why should we poor women be debarred from the luxuries of club life?” She continues by describing what she means by Ladies’ clubs and invites the editor of Echoes over to her house to discuss the matter. The letter ends humorously by asking the editor to come after 5:00 p.m. because her husband will have then left for his club; if he should still be there, she asks not to broach the subject: “for men are so selfish, that, like the rest of his sex, he would do all he could to prevent us poor women from obtaining the smallest increase of freedom” (“Ladies’ Clubs,” Echoes from the Clubs 4 [1867], 61). That letter confirms one of Stern’s points, that the wall between the public and the private spheres was not as impermeable as Jürgen Habermas presented it to be. She positions herself in a line of feminist critics who have criticized that theoretical stance, holding that there is a difference between historical fact and representation of history. Stern starts her exploration of the intertwinement of coffee houses and periodicals in the eighteenth century, when it reached its acme. This is where she finds her first case...

Critical Writing Skills in Legal Education

In legal education, criticism is conceived as an academic activity. As lecturers, we expect from students more than just the expression of their opinion; they have to evaluate and criticize a certain practice, building on a sound argumentation and provide suggestions on how to improve this practice. Criticism not only entails a negative judgment but is also constructive since it aims at changing the current state of affairs that it rejects (for some reason or other). In this article, we want to show how we train critical writing in the legal skills course for first-year law students (Juridische vaardigheden) at Vrije Universiteit Amsterdam. We start with a general characterization of the skill of critical writing on the basis of four questions: 1. Why should we train critical writing? 2. What does criticism mean in a legal context? 3. How to carry out legal criticism? and 4. How to derive recommendations from the criticism raised? Subsequently, we discuss, as an illustration to the last two questions, the Dutch Urgenda case, which gave rise to a lively debate in the Netherlands on the role of the judge. Finally, we show how we have applied our general understanding of critical writing to our legal skills course. We describe the didactic approach followed and our experiences with it.

Measuring Feeling as Theory of Literature: Romanticism and the Performance of Genre in Natsume Sōseki’s Kusamakura and Critical Writings

Measuring Feeling as Theory of LiteratureRomanticism and the Performance of Genre in Natsume Sōseki’s Kusamakura and Critical Writings Daniel Poch (bio) Natsume Sōseki 夏目漱石 (1867–1916) is widely thought of today as one of the greatest novelists of modern Japan, but it is less well known that throughout his writing career he was highly ambivalent, if not suspicious, of the novel (shōsetsu 小説) and may not have even thought of himself as a novelist. Largely under the influence of Western models, this new genre had become widely accepted as the literary norm in Japan by the early twentieth century.1 But its dominance challenged the understanding of literature as defined by traditional Japanese letters (bun 文), which included especially classical Chinese-style poetry and prose (kanshibun 漢詩文) but also waka 和歌 (thirty-one-syllable Japanese-style verse).2 These genres had defined the parameters of high-class Japanese literacy for more than a millennium and were still very much alive well into the late Meiji period. A proficient practitioner of kanshi 漢詩 (classical Chinese-style verse) and haiku [End Page 1] (seventeen-syllable Japanese-style verse) throughout his career, Sōseki was steeped in the aesthetic sensibility of traditional poetry.3 It is unsurprising, therefore, that when he began experimenting with literary prose in the early 1900s, influenced by his friend and poetic mentor Masaoka Shiki 正岡子規 (1867–1902), he labeled his narratives not as novels but as shaseibun 写生文 (sketch writing)—a type of prose Sōseki considered inherently poetic. An early masterpiece by Sōseki in this category is the acclaimed Wagahai wa neko de aru 我輩は猫である (I Am a Cat; 1905–1906).4 In his short essay Shaseibun 写生文 (On Sketch Writing; 1907), Sōseki defines the genre as a type of prose more akin to haiku poetry than to the novel.5 He explains that shaseibun writings, unlike novels, are largely devoid of plot and instead focus exclusively on objective observation. The most important difference that Sōseki highlights, however, is with regard to what he calls the “inner state” (shinteki jōtai 心的状態) of novelist and shaseibun author, respectively. He argues that the novelist is strongly affected by, or drawn into, his or her characters and their emotions. The shaseibun author, on the contrary, exhibits a gentle and humorous detachment that resembles the stance taken by a parent toward a child. Even if the child cries, Sōseki remarks, a good parent does not cry with the child. Similarly, the shaseibun author observes and describes (or “sketches”) his or her figures and their emotions—their love, their tears, their greed—not coldly, but with amused interest, unlike the novelist, who passionately sheds tears together with his or her characters.6 In short, Sōseki envisions the shaseibun genre in emotional terms as a type of prose writing that allows for more affective distance from the narrated world and its emotions than does the novel. “Human emotion” (ninjō 人情) is a key concern in Sōseki’s essay and, as I will argue, his broader literary and theoretical project. The term “ninjō” was an important critical concept in Meiji-period discussions of the novel. It figures notably in the seminal treatise Shōsetsu shinzui 小説神髄 (The Essence of the Novel; 1885–1886), by influential literary critic and novelist Tsubouchi Shōyō 坪内逍遥 (1859–1935), which famously declares that the novel’s focus should be on the depiction of “human emotion” (ninjō) and “social manners” (setai 世態).7 Although ninjō could traditionally [End Page 2] denote a broader range of emotions, Shōyō used the term primarily in reference to male-female love and desire.8 His definition of the novel’s content was of great importance in shaping the subsequent development and understanding of the genre in Meiji Japan. Literary historian Hiraoka Toshio 平岡敏夫 has aptly labeled the Japanese novels widely read in the late 1880s and 1890s in the wake of Shōyō’s literary reform as “novels of human emotion and social manners” (ninjō setai shōsetsu 人情世態小説)—that is to say, novels that revolved around plots of love and sentiment, often in connection with the depiction of social problems.9 It was these novels— including Tokutomi Roka’s 徳富蘆花 (Kenjirō 健次郎; 1868–1927) Hototogisu 不如帰 (Cuckoo; 1898–1899...

The Social Life of Criticism: Gender, Critical Writing, and the Politics of Belonging by Kimberly J. Stern

The Social Life of Criticism: Gender, Critical Writing, and the Politics of Belonging by Kimberly J. Stern

Diseccionar los laureles: Los premios dramáticos de la Revolución Cubana (1959-1976) by Emilio Gallardo Saborido

Reviewed by: Diseccionar los laureles: Los premios dramáticos de la Revolución Cubana (1959-1976) by Emilio Gallardo Saborido Bretton White Gallardo Saborido, Emilio. Diseccionar los laureles: Los premios dramáticos de la Revolución Cubana (1959-1976). Warsaw: Instituto de Estudios Ibéricos e Iberoamericanos, 2015. 416 pp. A nation's awards for artistic expression can stand as a record of national values in yearly installments. Similarly, awards can also put power structures into sharp relief, showcasing what those in power consider to be important. In Diseccionar los laureles, Emilio J. Gallardo Saborido's examination of Cuban drama awards from the first days of the revolution until the heart of the quinquenio gris, the dynamic between selection committees—often featuring foreign selectors—and the revolution's increasingly stringent approach to artistic expression is in constant tension. This history of Cuba's theatre awards from 1959 to 1976 offers a layered understanding of the socio-political pressures upon the artists, critics, and scholars involved in the awards selection through meticulous research about the decision-making processes and politics surrounding the prizes. Throughout, Gallardo Saborido interweaves literary criticism, pertinent theory, and interviews with the protagonists involved to give [End Page 220] readers insight into the complexities of awarding prizes in times of growing suspicion about artists considered to be less concerned with showcasing the revolution's ideals. Organized chronologically, Diseccionar los laureles focuses on the Casa de las Américas prize in theatre and UNEAC's José Ramos prize, the two most prestigious in Cuba for theatre. Additionally, Diseccionar traces the attitudes of Cuban cultural institutions toward their own works with the UNEAC prize and toward international works with the award from Casa de las Américas, giving the reader insight into domestic and international tensions surrounding Cuban cultural production at the time. This investigative work on the part of the author, then, makes for a valuable resource for those considering the impact of each award on the field of theatre, as well as those studying theatre's broader societal impact during this historical period. Although a broader thematic focus beyond the bestowal of national prizes does not emerge in the work, at times the author does link works across stylistic categories of theatre, such as in the first chapter with absurdist theatre, or those works connected via what Gallardo Saborido terms the "núcleo épico-bélico del teatro revolucionario cubano" (96) during the late 1960s, in response to, in part, the absurdist theatre that preceded it. As the author notes in his extensive organization of quotes from other critics (including Cubans Norge Espinosa, Ileana Boudet, and Esther Suárez Durán), absurd theatre was not in line with the revolution's goals because it was too malleable to be understood unilaterally. Other parts of this main section further prove what was indeed successful in this period leading into the quinquenio gris, mainly, identifying the revolution's current threat. Thus, the author includes a subsection on award winners that treated the Lucha contra bandidos, referring to the period from 1959 to 1965 when counterrevolutionaries were suppressed by Castro's troops in the years preceding their victory at Playa Girón. There is another subsection on works that deal with Jehovah's Witnesses. While Gallardo Saborido doesn't always give the reader his conclusions about these groups and trends, he does amass the voices of many others—from the winning texts, but also from interviews and writings with critics—that will help scholars looking for detailed information about the critical dialogue surrounding the works. Especially valuable is how Gallardo Saborido is able to bring readers back to the dialogues surrounding prize selection. Utilizing contemporary interviews with those involved in the selection committees together with critical writings from when the prizes were awarded, Diseccionar is able to recuperate a balanced perspective on this difficult period in the history of Cuban culture. Further, by grounding the manuscript in yearly awards, readers are able to dig deeper into the officially approved works of the period, and can reach conclusions about particular omissions in the awards' trajectories. An obvious example of an overlooked group would be female award-winners—only one winner in the...

Historias para ser contadas y la onda de la "narraturgia" en el teatro mexicano del nuevo milenio

"Narraturgia," from narrativa and dramaturgia, is a term coined by theorist and dramatist José Sanchis Sinisterra to describe a hybrid genre that intertwines theater and narrative. With echoes of the Greek chorus, the town crier, Epic theater, and Osvaldo Dragún's Historias para ser contadas (1956), Mexico's millennial dramatists speak directly to the audience, seduce them with a story simultaneously narrated and enacted, and lead them to reflect on their place in a world inured to violence. During the past two decades, Alejandro Ricaño, Legom, Édgar Chías, and Enrique Olmos, among others, have taken over the stages of Mexico and captivated younger audiences with their memorable tales and antiheroes. Sanchis Sinisterra's seminal theory sets the parameters for this mode of theatrical expression, while the critical writings of the dramatists themselves suggest that the popularity of narraturgy owes not only to financial restraints but also to the difficulty of dialogue in an atmosphere of fear, corruption, and distrust. Along with simple and amusing anecdotes of daily life, Mexico's narraturgos tell terrifying stories that keep their audience from forgetting the dangerous and violent world that lies outside the theater.

Radwa Ashour, African American Criticism, and the Production of Modern Arabic Literature

In 1973, at the suggestion of her mentor Shirley Graham Du Bois, the Egyptian scholar, activist, teacher, and novelist Radwa Ashour enrolled at the University of Massachusetts, Amherst, to study African American literature and culture. Ashour’s 1975 dissertation “The Search for a Black Poetics: A Study of Afro-American Critical Writings,” along with her 1983 autobiography,Al-Rihla: Ayyam taliba misriyya fi amrika[The Journey: An Egyptian Woman Student’s Memoirs in America], specifically engage with debates that emerged at the First International Congress of Negro Writers and Artists in September 1956 between African Americans and others from the African diaspora (most notably Aimé Césaire) regarding the applicability of the “colonial thesis” to the United States. This article argues that Ashour’s early engagement with African American cultural politics are formative of her fiction, particularly her 1991 novel,Siraaj: An Arab Tale,which examines overlapping questions of slavery, empire, and colonialism in the Arab world.