Aviad Kleinberg
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231174701
- eISBN:
- 9780231540247
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174701.003.0009
- Subject:
- Religion, Philosophy of Religion
Where God's invitation to eat his flesh raises unexpected problems. What do we do with spiders and mice and where in the digestive system does the Eucharist turn back into flour and wine before ...
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Where God's invitation to eat his flesh raises unexpected problems. What do we do with spiders and mice and where in the digestive system does the Eucharist turn back into flour and wine before things get really nasty.Less
Where God's invitation to eat his flesh raises unexpected problems. What do we do with spiders and mice and where in the digestive system does the Eucharist turn back into flour and wine before things get really nasty.
Jessica Milner Davis and Jocelyn Chey (eds)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9789888139231
- eISBN:
- 9789888180837
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139231.001.0001
- Subject:
- Society and Culture, Asian Studies
This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and ...
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This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and educational humour. The second of two multidisciplinary volumes on humour in Chinese life and letters, this text also explores the relationship between the political control and popular expression of humour, such as China and Japan's exchange of comic stereotypes. It advances the methodology of cross-cultural and psychological studies of humour and underlines the economic and personal significance of humour in modern times.Less
This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and educational humour. The second of two multidisciplinary volumes on humour in Chinese life and letters, this text also explores the relationship between the political control and popular expression of humour, such as China and Japan's exchange of comic stereotypes. It advances the methodology of cross-cultural and psychological studies of humour and underlines the economic and personal significance of humour in modern times.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0005
- Subject:
- Literature, 18th-century Literature
Taking three texts about taste by women in the 1770s as examples, this chapter argues that the discourse of taste, after mid-century, disadvantages women in two distinct ways. It identifies them as ...
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Taking three texts about taste by women in the 1770s as examples, this chapter argues that the discourse of taste, after mid-century, disadvantages women in two distinct ways. It identifies them as objects of taste, composites of beautiful looks, family connections, ‘accomplishments’, etc. to be exchanged on the marriage market. It also portrays women as exceptionally tasteful subjects, in an often uncomplimentary way. Male and female commentators view the passionate, brisk sensitivity that makes taste especially feminine as inferior to slow, deliberative male judgement. But the writers discussed here, Hannah More, Anna Barbauld, and Frances Burney, show how these two types of feminine weakness may add up to a uniquely feminine strength. Women gain special insight into the discourse of taste by being both its exemplary subjects and exemplary objects, directly experiencing the interconnection between processes of beautification and the immediacy of beauty’s effect in ways most men do not.Less
Taking three texts about taste by women in the 1770s as examples, this chapter argues that the discourse of taste, after mid-century, disadvantages women in two distinct ways. It identifies them as objects of taste, composites of beautiful looks, family connections, ‘accomplishments’, etc. to be exchanged on the marriage market. It also portrays women as exceptionally tasteful subjects, in an often uncomplimentary way. Male and female commentators view the passionate, brisk sensitivity that makes taste especially feminine as inferior to slow, deliberative male judgement. But the writers discussed here, Hannah More, Anna Barbauld, and Frances Burney, show how these two types of feminine weakness may add up to a uniquely feminine strength. Women gain special insight into the discourse of taste by being both its exemplary subjects and exemplary objects, directly experiencing the interconnection between processes of beautification and the immediacy of beauty’s effect in ways most men do not.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0006
- Subject:
- Literature, 18th-century Literature
Most accounts of fashion in the eighteenth century see its vigour and direction as derived from the aspirations and new purchasing power of the commercial classes. But a contrary and obvious ...
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Most accounts of fashion in the eighteenth century see its vigour and direction as derived from the aspirations and new purchasing power of the commercial classes. But a contrary and obvious truth—noted by the authors treated here, Adam Smith, Joshua Reynolds, and Frances Reynolds, among others in the period—is that fashion is ruled by the rich and the great. In the modern world, this rule rests on the glamour of their power in the present, divorced from narratives of cultural and commercial progress. Fashion, the name for taste in its most hectic relation to time, concentrates attention on the now of culture and its mere difference from what has come before. Dominating this utterly contingent moment, the rich and great find a new basis for their authority, no longer in inherited insignia of hierarchy, but now in the always shifting, imaginary link between lofty status and taste in clothes.Less
Most accounts of fashion in the eighteenth century see its vigour and direction as derived from the aspirations and new purchasing power of the commercial classes. But a contrary and obvious truth—noted by the authors treated here, Adam Smith, Joshua Reynolds, and Frances Reynolds, among others in the period—is that fashion is ruled by the rich and the great. In the modern world, this rule rests on the glamour of their power in the present, divorced from narratives of cultural and commercial progress. Fashion, the name for taste in its most hectic relation to time, concentrates attention on the now of culture and its mere difference from what has come before. Dominating this utterly contingent moment, the rich and great find a new basis for their authority, no longer in inherited insignia of hierarchy, but now in the always shifting, imaginary link between lofty status and taste in clothes.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0007
- Subject:
- Literature, 18th-century Literature
This chapter offers a new view of the theory and practice of collecting by examining writings on the topic by William Beckford, author of Vathek and the pre-eminent collector of fine objects of his ...
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This chapter offers a new view of the theory and practice of collecting by examining writings on the topic by William Beckford, author of Vathek and the pre-eminent collector of fine objects of his day. While collecting has usually been seen as a form of consumption, whereby the collector creates an ideal reflection of himself in the ordered and classified items he has chosen, I examine moments when Beckford portrays collecting as neither consumption nor (as a correlate) occulted production, but as exchange. The now of immediate taste aligns with the now of money and the market. In Vathek and other texts, collected items ceaselessly circulate, never fully embodying value or meaning but rather feverishly acquiring their significance by being bought and sold. Beckford’s writing on collecting affords insight into the fantasies of taste that would structure the drives and dissatisfactions fostered by the capitalist marketplace in the centuries to come.Less
This chapter offers a new view of the theory and practice of collecting by examining writings on the topic by William Beckford, author of Vathek and the pre-eminent collector of fine objects of his day. While collecting has usually been seen as a form of consumption, whereby the collector creates an ideal reflection of himself in the ordered and classified items he has chosen, I examine moments when Beckford portrays collecting as neither consumption nor (as a correlate) occulted production, but as exchange. The now of immediate taste aligns with the now of money and the market. In Vathek and other texts, collected items ceaselessly circulate, never fully embodying value or meaning but rather feverishly acquiring their significance by being bought and sold. Beckford’s writing on collecting affords insight into the fantasies of taste that would structure the drives and dissatisfactions fostered by the capitalist marketplace in the centuries to come.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0008
- Subject:
- Literature, 18th-century Literature
This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New ...
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This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New Formalism. My defence of taste does not require me to locate it in a realm of ideally disinterested discourse, any supposedly natural demands of the body, or any other region of thought or language uncontaminated by ideology—all places where New Formalist writers have sought to situate the aesthetic. Rather, taste’s critical power emerges from nowhere but its intimate role in the construction of ideological discourse. Its double emphasis on immediate feeling and historically constructed cultural identity shows us both where ideology comes from and exactly where it can come undone. This divide redeems the discourse of taste not because it leads someplace outside ideology but because it lies fatally within it.Less
This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New Formalism. My defence of taste does not require me to locate it in a realm of ideally disinterested discourse, any supposedly natural demands of the body, or any other region of thought or language uncontaminated by ideology—all places where New Formalist writers have sought to situate the aesthetic. Rather, taste’s critical power emerges from nowhere but its intimate role in the construction of ideological discourse. Its double emphasis on immediate feeling and historically constructed cultural identity shows us both where ideology comes from and exactly where it can come undone. This divide redeems the discourse of taste not because it leads someplace outside ideology but because it lies fatally within it.
Gordon M. Shepherd
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9780231177009
- eISBN:
- 9780231542876
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231177009.003.0021
- Subject:
- Neuroscience, Behavioral Neuroscience
This chapter provides a summary of the contents of the book through new studies, including consumers’ preferences in the alcohol content of wines; whether price impacts pleasure; and how experts in ...
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This chapter provides a summary of the contents of the book through new studies, including consumers’ preferences in the alcohol content of wines; whether price impacts pleasure; and how experts in wine have different taste experiences than others.Less
This chapter provides a summary of the contents of the book through new studies, including consumers’ preferences in the alcohol content of wines; whether price impacts pleasure; and how experts in wine have different taste experiences than others.
Nicola Perullo
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780231173483
- eISBN:
- 9780231541428
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173483.001.0001
- Subject:
- Philosophy, Aesthetics
Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical ...
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Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people’s food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience.Less
Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people’s food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience.
Abigail Zitin
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780300244564
- eISBN:
- 9780300255713
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300244564.001.0001
- Subject:
- Philosophy, Aesthetics
In early eighteenth-century Britain, writers asked after the nature and causes of the pleasure we feel when we encounter beauty. It took a painter, however, to steer the nascent field of ...
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In early eighteenth-century Britain, writers asked after the nature and causes of the pleasure we feel when we encounter beauty. It took a painter, however, to steer the nascent field of philosophical aesthetics toward questions of spatial form. Drawing inspiration from William Hogarth’s 1753 treatise on beauty, this book traces the development of form as a concept in and for aesthetics. Hogarth’s experience as a draftsman and printmaker guided his dissent from the developing consensus on aesthetic pleasure and standards of taste. The immediate cause of aesthetic pleasure, he argues, is beautiful form, which is detected through the activity of formal abstraction. The insight that formal abstraction has heuristic value in judging beauty emerges from the way practitioners think about skill across the domains of art and craft. Zitin’s account of the history of form in eighteenth-century thought substitutes women and artisans, as virtuosos of aesthetic judgment, for the proverbial man of taste, a substitution with the power to reshape our understanding of canonical statements on aesthetics from the writings of Shaftesbury to Kant’s Third Critique.Less
In early eighteenth-century Britain, writers asked after the nature and causes of the pleasure we feel when we encounter beauty. It took a painter, however, to steer the nascent field of philosophical aesthetics toward questions of spatial form. Drawing inspiration from William Hogarth’s 1753 treatise on beauty, this book traces the development of form as a concept in and for aesthetics. Hogarth’s experience as a draftsman and printmaker guided his dissent from the developing consensus on aesthetic pleasure and standards of taste. The immediate cause of aesthetic pleasure, he argues, is beautiful form, which is detected through the activity of formal abstraction. The insight that formal abstraction has heuristic value in judging beauty emerges from the way practitioners think about skill across the domains of art and craft. Zitin’s account of the history of form in eighteenth-century thought substitutes women and artisans, as virtuosos of aesthetic judgment, for the proverbial man of taste, a substitution with the power to reshape our understanding of canonical statements on aesthetics from the writings of Shaftesbury to Kant’s Third Critique.
David Church
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9781474475884
- eISBN:
- 9781474495257
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474475884.001.0001
- Subject:
- Film, Television and Radio, Film
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously ...
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Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.Less
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.
Daniel Thomas Cook
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781479899203
- eISBN:
- 9781479881413
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479899203.003.0003
- Subject:
- Sociology, Marriage and the Family
This chapter examines mid- to late-nineteenth-century Victorian middle-class concerns with taste—the child’s taste in particular—and how this notion drew on and wrestled with virtually the same ...
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This chapter examines mid- to late-nineteenth-century Victorian middle-class concerns with taste—the child’s taste in particular—and how this notion drew on and wrestled with virtually the same constellation of tensions evident in the struggles with depravity and salvation regarding the Protestant child. Ever-present and ever-looming child malleability imperilled social reproduction and implicated mothers as those responsible not only for the material well-being of children but, more importantly, for their appropriate disposition toward things and the world of things. Both cases, in this sense, worked toward fashioning a moral architecture whereby the making of social persons, and of consequent subjectivities, guided the counsel imparted on the pages of periodicals. By examining discourses regarding children and taste—particularly, but not exclusive, girls’ taste—it is argued that taste operated in a pedagogical register thought to educate and direct the child toward proper objects and a proper relationship to objects. In this way, taste emplaced materiality directly into the moral education of bourgeois children and offered another way to theorize or otherwise configure the interiority of the child—i.e., to discern and determine the shape and consequences of their wants and desires.Less
This chapter examines mid- to late-nineteenth-century Victorian middle-class concerns with taste—the child’s taste in particular—and how this notion drew on and wrestled with virtually the same constellation of tensions evident in the struggles with depravity and salvation regarding the Protestant child. Ever-present and ever-looming child malleability imperilled social reproduction and implicated mothers as those responsible not only for the material well-being of children but, more importantly, for their appropriate disposition toward things and the world of things. Both cases, in this sense, worked toward fashioning a moral architecture whereby the making of social persons, and of consequent subjectivities, guided the counsel imparted on the pages of periodicals. By examining discourses regarding children and taste—particularly, but not exclusive, girls’ taste—it is argued that taste operated in a pedagogical register thought to educate and direct the child toward proper objects and a proper relationship to objects. In this way, taste emplaced materiality directly into the moral education of bourgeois children and offered another way to theorize or otherwise configure the interiority of the child—i.e., to discern and determine the shape and consequences of their wants and desires.
Michelle Levy
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474457064
- eISBN:
- 9781474481205
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474457064.003.0003
- Subject:
- Literature, 18th-century Literature
Chapter 2 examines how literary reviews engaged in debates about what should appear in print. As reviewers encountered large quantities of published literary writing, some of which had identifiable ...
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Chapter 2 examines how literary reviews engaged in debates about what should appear in print. As reviewers encountered large quantities of published literary writing, some of which had identifiable origins in sociable manuscript culture, they faced both a practical problem – how to keep up with the rising tide of new publications – and an ethical dilemma – how to respond to the proliferation of print. Did the large increases in literary print publication (and the increasing number of authors entering print) signal a decline in taste and a degeneration of literary standards, or the enlightened progress of society and the improvement of literary taste? This chapter compares the reviewing practices and editorial policies in the Edinburgh Review, which was outspoken in its criticism of the publication of manuscript writing, and the Annual Review, which was tolerant of all literary productions. Specifically, it finds that the Edinburgh constructed print as a public medium and, by necessary contrast, manuscript as a private one, a division that came to be understood as intrinsic to script and print, rather than what it was, a product of an ideological dispute, fought in part in the pages of the literary reviews.Less
Chapter 2 examines how literary reviews engaged in debates about what should appear in print. As reviewers encountered large quantities of published literary writing, some of which had identifiable origins in sociable manuscript culture, they faced both a practical problem – how to keep up with the rising tide of new publications – and an ethical dilemma – how to respond to the proliferation of print. Did the large increases in literary print publication (and the increasing number of authors entering print) signal a decline in taste and a degeneration of literary standards, or the enlightened progress of society and the improvement of literary taste? This chapter compares the reviewing practices and editorial policies in the Edinburgh Review, which was outspoken in its criticism of the publication of manuscript writing, and the Annual Review, which was tolerant of all literary productions. Specifically, it finds that the Edinburgh constructed print as a public medium and, by necessary contrast, manuscript as a private one, a division that came to be understood as intrinsic to script and print, rather than what it was, a product of an ideological dispute, fought in part in the pages of the literary reviews.
Raffaele Ariano
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474456012
- eISBN:
- 9781474490672
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456012.003.0008
- Subject:
- Film, Television and Radio, Film
In this chapter, Rafaele Ariano examines Eternal Sunshine of the Spotless Mind (2014) as a hybrid of the art film and the romantic comedy. Ariano conceptualizes the “art romantic comedy” as a ...
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In this chapter, Rafaele Ariano examines Eternal Sunshine of the Spotless Mind (2014) as a hybrid of the art film and the romantic comedy. Ariano conceptualizes the “art romantic comedy” as a sub-genre that targets audiences that would typically reject the romantic comedy based upon conventions of taste and cultural hierarchy. The chapter places Gondry in a cohort of contemporary auteurs, including Paul Thomas Anderson, Noah Baumbach, Sofia Coppola and Alexander Payne, whose romantic comedies are characterized by qualities drawn from art and indie cinema. These characteristics include the expressive use of film style and implementation of metafictional devices, complex “sensitive” protagonists, and endings that are ambiguous and thus only partially “happy.” Ariano applies this genre framework to an analysis of Eternal Sunshine of the Spotless Mind, but also places the film within wider trends in the genre of romantic comedy.Less
In this chapter, Rafaele Ariano examines Eternal Sunshine of the Spotless Mind (2014) as a hybrid of the art film and the romantic comedy. Ariano conceptualizes the “art romantic comedy” as a sub-genre that targets audiences that would typically reject the romantic comedy based upon conventions of taste and cultural hierarchy. The chapter places Gondry in a cohort of contemporary auteurs, including Paul Thomas Anderson, Noah Baumbach, Sofia Coppola and Alexander Payne, whose romantic comedies are characterized by qualities drawn from art and indie cinema. These characteristics include the expressive use of film style and implementation of metafictional devices, complex “sensitive” protagonists, and endings that are ambiguous and thus only partially “happy.” Ariano applies this genre framework to an analysis of Eternal Sunshine of the Spotless Mind, but also places the film within wider trends in the genre of romantic comedy.
Banu Özkazanç-Pan
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781529204544
- eISBN:
- 9781529204582
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781529204544.003.0005
- Subject:
- Business and Management, Organization Studies
As the final chapter expanding upon the new agentic, reflexive subjectivities arising from transnational migration, the focus herein is on cosmopolitanism and cosmopolitans. The first section of the ...
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As the final chapter expanding upon the new agentic, reflexive subjectivities arising from transnational migration, the focus herein is on cosmopolitanism and cosmopolitans. The first section of the chapter underscores the main tenets of cosmopolitanism and cosmopolitans and thereby offers insights into the various ways this notion has been theorized. This sets the stage for empirical examples of cosmopolitanism in research that takes shape at the intersections of global business, work and difference. These examples challenge the notion of cosmopolitanism as referencing people who have a global mindset and are ‘citizens of everywhere and nowhere’ approaches which dominate cross-cultural management and examinations of difference in a global context. The third section focuses on the ways ‘global nomad’ as a particular example of cosmopolitanism challenges financialized notions of diversity in the context of organizations and neo-liberalism. In concluding this chapter, the final consideration is around the linkage of cosmopolitanism to an ethics of difference that embodies the epistemic, social and material aspects of transnational being and belonging. By addressing these concerns, the chapter offers new directions in relation to the quest for theorizing and accounting for various forms of difference in relation to people and work.Less
As the final chapter expanding upon the new agentic, reflexive subjectivities arising from transnational migration, the focus herein is on cosmopolitanism and cosmopolitans. The first section of the chapter underscores the main tenets of cosmopolitanism and cosmopolitans and thereby offers insights into the various ways this notion has been theorized. This sets the stage for empirical examples of cosmopolitanism in research that takes shape at the intersections of global business, work and difference. These examples challenge the notion of cosmopolitanism as referencing people who have a global mindset and are ‘citizens of everywhere and nowhere’ approaches which dominate cross-cultural management and examinations of difference in a global context. The third section focuses on the ways ‘global nomad’ as a particular example of cosmopolitanism challenges financialized notions of diversity in the context of organizations and neo-liberalism. In concluding this chapter, the final consideration is around the linkage of cosmopolitanism to an ethics of difference that embodies the epistemic, social and material aspects of transnational being and belonging. By addressing these concerns, the chapter offers new directions in relation to the quest for theorizing and accounting for various forms of difference in relation to people and work.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the ...
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This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the purposes of the piece’. Look Back in Anger is an interesting film for many reasons. It represents the beginning of Richardson's efforts to establish a new and separate position within the British film industry. The film also helped to generate a new series of critical debates about the development of a British cinematic style, or the lack of it. The film also became allied with other films trying to do similar things, such as Clayton's Room at the Top. It can best be characterised by the extremity of shot scale deployed to show the claustrophobic relationship between Alison and Jimmy, and the construction of The Entertainer demonstrates a willingness to move out from this extreme proximity. Richardson's four films from this period need to be seen as indicative of a talent being developed rather than the achievements of a director at the height of his creative ability.Less
This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the purposes of the piece’. Look Back in Anger is an interesting film for many reasons. It represents the beginning of Richardson's efforts to establish a new and separate position within the British film industry. The film also helped to generate a new series of critical debates about the development of a British cinematic style, or the lack of it. The film also became allied with other films trying to do similar things, such as Clayton's Room at the Top. It can best be characterised by the extremity of shot scale deployed to show the claustrophobic relationship between Alison and Jimmy, and the construction of The Entertainer demonstrates a willingness to move out from this extreme proximity. Richardson's four films from this period need to be seen as indicative of a talent being developed rather than the achievements of a director at the height of his creative ability.
Eugenia Zuroski Jenkins
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199950980
- eISBN:
- 9780199345991
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950980.001.0001
- Subject:
- Literature, 18th-century Literature, World Literature
A Taste for China offers an account of how literature of the long eighteenth century generated a model of English selfhood dependent on figures of China. It shows how various genres of ...
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A Taste for China offers an account of how literature of the long eighteenth century generated a model of English selfhood dependent on figures of China. It shows how various genres of writing in this period call upon “things Chinese” to define the tasteful English subject of modernity. Chinoiserie is no mere exotic curiosity in this culture, but a potent, multivalent sign of England’s participation in a cosmopolitan world order. By the end of the eighteenth century, not only are English homes filled with it, but so too are English selves. Literature’s gradual insistence that things Chinese are incompatible with English identity is part of a strategy for organizing this imaginary material as part of modern subjectivity. Orientalism does not inform the literary incorporation of China into English self-definition, but is instead one of its most lasting effects.Less
A Taste for China offers an account of how literature of the long eighteenth century generated a model of English selfhood dependent on figures of China. It shows how various genres of writing in this period call upon “things Chinese” to define the tasteful English subject of modernity. Chinoiserie is no mere exotic curiosity in this culture, but a potent, multivalent sign of England’s participation in a cosmopolitan world order. By the end of the eighteenth century, not only are English homes filled with it, but so too are English selves. Literature’s gradual insistence that things Chinese are incompatible with English identity is part of a strategy for organizing this imaginary material as part of modern subjectivity. Orientalism does not inform the literary incorporation of China into English self-definition, but is instead one of its most lasting effects.
Charles C. Ludington and Matthew Morse Booker (eds)
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9781469652894
- eISBN:
- 9781469652917
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469652894.001.0001
- Subject:
- History, American History: 20th Century
What we eat, where it is from, and how it is produced are vital questions in today’s America. We think seriously about food because it is freighted with the hopes, fears, and anxieties of modern ...
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What we eat, where it is from, and how it is produced are vital questions in today’s America. We think seriously about food because it is freighted with the hopes, fears, and anxieties of modern life. Yet critiques of food and food systems all too often sprawl into jeremiads against modernity itself, while supporters of the status quo refuse to acknowledge the problems with today’s methods of food production and distribution. Food Fights sheds new light on these crucial debates, using a historical lens. Its essays take strong positions, even arguing with one another, as they explore the many themes and tensions that define how we understand our food—from the promises and failures of agricultural technology to the politics of taste. In addition to the editors, contributors include Ken Albala, Amy Bentley, Charlotte Biltekoff, Peter A. Coclanis, Tracey Deutsch, S. Margot Finn, Rachel Laudan, Sarah Ludington, Margaret Mellon, Steve Striffler, and Robert T. Valgenti.Less
What we eat, where it is from, and how it is produced are vital questions in today’s America. We think seriously about food because it is freighted with the hopes, fears, and anxieties of modern life. Yet critiques of food and food systems all too often sprawl into jeremiads against modernity itself, while supporters of the status quo refuse to acknowledge the problems with today’s methods of food production and distribution. Food Fights sheds new light on these crucial debates, using a historical lens. Its essays take strong positions, even arguing with one another, as they explore the many themes and tensions that define how we understand our food—from the promises and failures of agricultural technology to the politics of taste. In addition to the editors, contributors include Ken Albala, Amy Bentley, Charlotte Biltekoff, Peter A. Coclanis, Tracey Deutsch, S. Margot Finn, Rachel Laudan, Sarah Ludington, Margaret Mellon, Steve Striffler, and Robert T. Valgenti.
Eugenia Zuroski Jenkins
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199950980
- eISBN:
- 9780199345991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950980.003.0003
- Subject:
- Literature, 18th-century Literature, World Literature
Chinoiserie objects including furniture, porcelain, and tea appear in English writing from the Restoration through the early eighteenth century; over this period, they are recategorized from exotic ...
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Chinoiserie objects including furniture, porcelain, and tea appear in English writing from the Restoration through the early eighteenth century; over this period, they are recategorized from exotic curiosities to culturally privileged markers of English taste. While Restoration comedies exploit china’s hold on the English imagination for laughs, periodicals such as the Spectator and Tatler use things Chinese to identify and regulate the exercise of taste and imagination.Less
Chinoiserie objects including furniture, porcelain, and tea appear in English writing from the Restoration through the early eighteenth century; over this period, they are recategorized from exotic curiosities to culturally privileged markers of English taste. While Restoration comedies exploit china’s hold on the English imagination for laughs, periodicals such as the Spectator and Tatler use things Chinese to identify and regulate the exercise of taste and imagination.
Eugenia Zuroski Jenkins
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199950980
- eISBN:
- 9780199345991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950980.003.0008
- Subject:
- Literature, 18th-century Literature, World Literature
Briefly considers the legacy of the eighteenth-century “taste for China” in modern theories of taste, particularly Bourdieu’s theory of bourgeois taste. Late eighteenth-century literature’s ...
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Briefly considers the legacy of the eighteenth-century “taste for China” in modern theories of taste, particularly Bourdieu’s theory of bourgeois taste. Late eighteenth-century literature’s reorganization of English selfhood according to epistemological distinctions between, on the one hand, subject and object, and, on the other, England and orient, generates the interiority of modern subjectivity. The estrangement the modern self feels from earlier traditions of selfhood generates the uncanny effects of the modern desire for things.Less
Briefly considers the legacy of the eighteenth-century “taste for China” in modern theories of taste, particularly Bourdieu’s theory of bourgeois taste. Late eighteenth-century literature’s reorganization of English selfhood according to epistemological distinctions between, on the one hand, subject and object, and, on the other, England and orient, generates the interiority of modern subjectivity. The estrangement the modern self feels from earlier traditions of selfhood generates the uncanny effects of the modern desire for things.
Sarah Bilston
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780300179330
- eISBN:
- 9780300186369
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300179330.003.0005
- Subject:
- Literature, Criticism/Theory
Later Victorian interior design manuals presented design as a way of rescuing home life and, by extension, society and the nation, from the forces of capitalism and commodity culture. They treat the ...
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Later Victorian interior design manuals presented design as a way of rescuing home life and, by extension, society and the nation, from the forces of capitalism and commodity culture. They treat the suburban home, not as a terrible modern malaise, but rather the solution to a national problem, so long as a reading, thinking, and vigorously practicing female interior decorator is present to work, decorate, and design. A surprising number of texts argue explicitly that for women’s decorating to have its full moral and social regenerative effect, women need to become professional, paid interior designers.Less
Later Victorian interior design manuals presented design as a way of rescuing home life and, by extension, society and the nation, from the forces of capitalism and commodity culture. They treat the suburban home, not as a terrible modern malaise, but rather the solution to a national problem, so long as a reading, thinking, and vigorously practicing female interior decorator is present to work, decorate, and design. A surprising number of texts argue explicitly that for women’s decorating to have its full moral and social regenerative effect, women need to become professional, paid interior designers.
