Spanish abstract: ‘Lone Star’ (John Sayles, 1996) es una película sobre la etnicidad y sobre el peso del pasado tratado aquí de manera reflexiva. Es un tema inevitablemente presente en las películas norteamericanas (o en muchas de ellas) pero a menudo sólo como parte del trasfondo, o evitado en el desarrollo de la historia principal. Aquí está…[Read more]

Spanish abstract: Dos hombres en lados opuestos de la ley están infiltrados —en la Policía y en la mafia— pero hierven la violencia y la sangre derramada cuando la información sale a la luz, y se envía a cada topo a averiguar quién es el enemigo interior. ‘Infiltrados’ es una película de Martin Scorsese que explora la ‘paradoja del espía’, a…[Read more]

El artículo examina el relato de Jack London “La Peste Escarlata” desde la perspectiva de la actual epidemiología evolucionista, sosteniendo que su comprensión pesimista de la dinámica epidemiológica en poblaciones crecientes, y su visión catastrofista de la evolución, son esencialmente correctas y se hallan muy por delante de las ideas recibi…[Read more]

This article examines the concept of ecomasculinity – how masculinities and ecologies interact – through the lens of deep ecology, arguing (following Serpil Oppermann) that Pynchon’s postmodernist boundary collapsing informs deep-ecological interconnections for male characters previously embroiled in negative cycles of patriarchal dominance.…[Read more]

This issue focuses on philosophical dispensations of seeing the world in a “mooded” way.

Review of Mike Wayne’s “Marxism Goes to the Movies”.

Interpretations of the Theaetetus digression fail to see how it functions in Plato’s argument because they have taken its praise of the philosopher at face value. But this is not the philosopher from Republic. His otherworldliness reflects both Theodorus’ mathematical understanding of philosophy as the study of ‘divine’ objects and the judgeme…[Read more]

Abstract: Insofar as Walter identifies with this myth, his rational imperative is profoundly interrupted. However, this representational interruption also operates on a larger level. Since the film opens and closes with the western actor Sam Elliott (The Stranger) and is shot through with western stylistic motifs, it can be seen as striving toward…[Read more]

In Philip Roth’s The Human Stain (2000) and Percival Everett’s Erasure (2001) multiculturalism is described as moralistic and essentialist; both novels present black American male protagonists who feel victimized by multiculturalism. Although critics have maintained that the two novels present a universalist view of American identity, in this cha…[Read more]

This chapter examines the portrayal of Ireland’s mother-and-baby homes in Stephen Frear’s film Philomena (2013) and the biography on which the film is based, the British journalist Martin Sixsmith’s account of Philomena Lee’s life and search for her son, who was given up to an American couple for adoption under coercive circumstances. Enforced a…[Read more]

This chapter explores links among food, class and gender in two memoirs written by contemporary American expatriates in France. The argument made is that references to French cuisine simultaneously create and resolve the tensions that arise in the texts when the authors describe their ideal and elitist lives to a presumed American female…[Read more]

As with many of the Kinoks’ films trains often appear in Dziga Vertov’s 1929 masterpiece, ‘Man with a Movie Camera’. Used to create dynamism, criss-crossing the screen, often at dramatic angles, and acting as a counterpoint to previous and following scenes. Train sequences also signpost a journey to Odesa by the eponymous cameraman. The paper…[Read more]

Dziga Vertov’s 1929 masterpiece ‘Man with a Movie Camera’ is a staple of film studies courses and academic papers but there has been no research until now into the important ‘co-stars’ of the film, the movie cameras. This paper discusses in detail the Debrie Parvo and other cameras used by the film’s cinematographer Mikhail Kaufman.

The definitive timeline for the early screening of Dziga Vertov’s 1929 masterpiece has been established for the first time. This illustrated paper looks at the details of the first showing of the film in Kyiv, Kharkiv, Moscow, and Germany. The earliest (pre-release) review of the film in 1928 has been translated into English for the first time,…[Read more]

Following extensive research and detective work, most of the locations used in Dziga Vertov’s 1929 masterpiece have been discovered. Described by leading film academics as ‘extraordinary and exciting research’ and ‘a huge step ahead in knowledge of the film’ the paper describes each location in detail including contemporary and current views. The…[Read more]

In July 1944, the Red Army was advancing through Eastern Poland when they discovered the first traces of the camps. On reaching Lublin they found an enormous compound behind barbed wire in the city’s suburb of Majdanek. Embedded with the Soviet army were film crews, who made the first images of a Nazi camp, among them the “flight survivors” Olga a…[Read more]

This is a critique of the logicist theory of truth and facts set forth in the final section of John R. Searle’s book ‘The Construction of Social Reality’ (1995). Searle’s logicist account, much in the line of his theory of speech acts, is contrasted to a pragmaticist and interactionalist perspective on truth, facts, and discourse. Keywords:…[Read more]

This essay was conceived as an ‘op-ed’ submission in response to the disturbing events in Washington D.C. this January. It is a practical application of the model of experience that was outlined in the paper ‘On Being Dimensional’. It offers a different perspective on the arguments that characterize a liberal and a conservative.

from
A BIBLIOGRAPHY OF LITERARY THEORY, CRITICISM AND PHILOLOGY
http://bit.ly/abibliog
Spanish abstract: En su ‘Teoría de los sentimientos morales’ habla Adam Smith de cómo en la comunicación pública el espectador virtual que emana de nuestro discurso puede no coincidir con los receptores reales de dicho discurso. Y ve Smith en esa no coi…[Read more]