Journal articles: 'Cultural critics'

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Gregory, Chase. "Critics on Critics." GLQ: A Journal of Lesbian and Gay Studies 25, no. 1 (January 1, 2019): 101–6. http://dx.doi.org/10.1215/10642684-7275572.

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HADDOCK, BRUCE. "National Cultural Autonomy and its Contemporary Critics." Nations and Nationalism 12, no. 2 (April 2006): 365–66. http://dx.doi.org/10.1111/j.1469-8129.2006.00245_5.x.

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Corciolani, Matteo, Kent Grayson, and Ashlee Humphreys. "Do more experienced critics review differently?" European Journal of Marketing 54, no. 3 (February 13, 2020): 478–510. http://dx.doi.org/10.1108/ejm-01-2019-0095.

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Purpose Cultural intermediaries define the standards many consumers use when evaluating cultural products. Yet, little research has focused on whether cultural intermediaries may systematically differ from each other with regard to the standards they emphasize. The purpose of this paper is to build on Bourdieu’s theory of cultural production to examine how the type of subfield reviewed and/or the cultural intermediary’s expertise (or “field-specific cultural capital”) affect the standards an intermediary uses. Design/methodology/approach This paper employed a computer-aided content analysis of the full corpus of “Rolling Stone” music album reviews (1967-2014). Findings Critics with lower field-specific cultural capital reflect the same logic as the subfield they are critiquing. Critics with higher field-specific cultural capital reflect the opposite logic. Research limitations/implications Bourdieu was ambivalent about whether cultural intermediaries will reflect the logic of a subfield. Results show that the answer depends on the intermediary’s field-specific cultural capital. The results also reinforce previous findings that individuals with high field-specific cultural capital are more likely to break with the logic of a field. Practical implications Not all intermediaries are created equal. Producers and consumers who rely on cultural intermediaries should understand the intermediary’s critical analysis within the context of his/her experience. Originality/value This is one of the first studies to examine how a cultural intermediary’s field-specific cultural capital impacts his or her work. The findings are based on a large review sample and include reviewers’ analyses as they developed from having lower to higher field-specific cultural capital.

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Symeou, Pavlos C., Philemon Bantimaroudis, and Stelios C. Zyglidopoulos. "Cultural Agenda Setting and the Role of Critics." Communication Research 42, no. 5 (May 27, 2014): 732–54. http://dx.doi.org/10.1177/0093650214534971.

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Soegito, Anthony. "Fans vs. critics: Challenging critical authority through memes." Journal of Fandom Studies 7, no. 3 (September 1, 2019): 279–301. http://dx.doi.org/10.1386/jfs_00005_1.

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This article explores how fans of the DC Extended Universe (DCEU) film franchise challenge the authority of film critics regarding their negative appraisal of comic book film Batman V. Superman: Dawn of Justice (Snyder, 2016). Observing memes shared in Facebook fan pages, I argue that fans construct their own authority by defining themselves against critics via questioning critics’ taste, constructing critics as villains, and enacting their own sophisticated cultural capital. My research shows how fans use Internet memes to control the discussion and validation of their object of fandom amongst fans on social media. Observing the year following the film’s release, this study analyses memes via a visual rhetoric and modal analysis. While comic-book movie fandom has previously been academically explored, this subset of fans remains under-analysed. What is at stake for DCEU fans is the respect of popular culture, social media and fandom at large, their status impacted by the film’s critical failure.

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Watts, Steven. "Reply to the Critics." American Quarterly 44, no. 3 (September 1992): 459. http://dx.doi.org/10.2307/2712986.

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Korppi-Tommola, Riikka. "The Cultural Context of Reception:." Nordic Journal of Dance 3, no. 2 (December 1, 2012): 38–55. http://dx.doi.org/10.2478/njd-2012-0010.

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Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

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Begum, Md Shahazadi. "Pertaining the Feminist Vision of Ecocriticism for Environmental Justice against Gender Biases and Women Critics: A Literature on the International and National Perception." International Journal of English Literature and Social Sciences 7, no. 2 (2022): 182——186. http://dx.doi.org/10.22161/ijels.72.23.

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To explore environmental literature from a feminist perspective, a large diversity of feminist eco-critical approaches to affirm the continuing contribution, it is necessary and relevant to present a feminist perspective in environmental literature, culture, and science. Feminist ecocriticism is considered as a substantial history that defines women's environmental writing and social change activism with the eco-cultural critic. This research mainly defines the connection of the feminist vision of eco-criticism by taking the international and national perception against gender biases and women critics. The main purpose of the study is the elaboration of ecocriticism for environmental justice against gender biases and women’s critics.

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McConnell, William R. "Cultural Guides, Cultural Critics: Distrust of Doctors and Social Support during Mental Health Treatment." Journal of Health and Social Behavior 58, no. 4 (October 12, 2017): 503–19. http://dx.doi.org/10.1177/0022146517736291.

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Research on relationships and health often interprets culture as the passively transmitted “content” of social ties, an approach that overlooks the influence of cultural resources on relationships themselves. I propose that mental health patients seek social support partly based on cultural resources held by their network members, including members’ medical knowledge and beliefs. I test hypotheses using data from the Indianapolis Network Mental Health Study, an egocentric network survey of new mental health patients ( N = 152) and their personal relationships ( N = 1,868). Results from random-intercept regressions show that patients obtain support from network members who trust doctors and who have experience with mental problems. In contrast, network members who distrust doctors disproportionately cause problems for patients. I discuss how cultural resources can categorize network members as supportive cultural guides or disruptive cultural critics. Reconsidering how culture shapes relationships clarifies the role of networks during illness management and illustrates their potentially harmful effects.

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Tite, Philip. "Editor’s Corner: Critics or Caretakers?" Bulletin for the Study of Religion 44, no. 3 (September 7, 2015): 38–39. http://dx.doi.org/10.1558/bsor.v44i3.26866.

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A short essay, in responding to an online roundtable (the Religious Studies Project), explores the role of progressive ideology in the academic study of religion, specifically with a focus on debates over Russell McCutcheon's distinction between scholars functioning as cultural critics or caretakers of religious traditions. This short piece is part of the "Editor's Corner" (an occasional section of the Bulletin where the editors offer provocative musings on theoretical challenges facing the discipline).

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Sicari, Ilaria. "Paratext as weapon." Translation and Interpreting Studies 15, no. 3 (October 23, 2020): 354–79. http://dx.doi.org/10.1075/tis.20081.sic.

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Abstract Although the selection and publication of foreign literature in the USSR was subject to state control, many foreign works were able to reach the Soviet reader, thanks to the clever strategies employed by editors, literary advisers, critics, and translators. This was particularly true in the case of foreign literature written by Western authors, which underwent more rigorous control and often required incisive cultural and ideological domestication in order to comply with the aesthetics of the Soviet literary canon. Through the analysis of a corpus of published and unpublished Soviet critical texts, this article sheds new light on the Soviet system of cultural production by taking into account the strategies implemented, at different levels, by cultural operators, and in particular by critics. This article focuses on the Soviet reception of Western anti-mimetic novels by Italo Calvino and Kurt Vonnegut, illustrating the strategies of critical domestication to which they were subjected.

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Fendt, Gene. "Camus and Aristotle on the Art Community and its Errors." Labyrinth 22, no. 2 (February 17, 2021): 40. http://dx.doi.org/10.25180/lj.v22i2.236.

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The purpose of this paper is to show the agreement of Camus and Aristotle on the cultural function of the art community (the community of artist and audience), in particular their criticism of what should be called barbarian or nihilistic practices of art. Camus' art and criticism have been frequent targets of modern critics, but his point is and would be that such critics have the wrong idea of the purpose of art. His answer to such critics and the parallelism of his ideas with Aristotle's criticism of barbarian culture, show that the real issue between Camus and his critics is cultural.

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Pohlad, Mark B. (Mark Borner). "Photography and Its Critics: A Cultural History, 1839-1900 (review)." Technology and Culture 41, no. 2 (2000): 382–84. http://dx.doi.org/10.1353/tech.2000.0080.

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Ruse, Michael. "Response to My Critics." Zygon® 37, no. 2 (June 2002): 457–60. http://dx.doi.org/10.1111/0591-2385.00442.

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Kantoříková, Jana. "Melancholy, Hanuš Jelínek and Miloš Marten." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 77–82. http://dx.doi.org/10.1515/amnpsc-2017-0022.

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The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation‟ around 1913 by means of the common interest in the work and personality of Paul Claudel.

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Patten, Alan. "Equal Recognition: A Reply to Four Critics." Les ateliers de l'éthique 10, no. 2 (February 29, 2016): 177–91. http://dx.doi.org/10.7202/1035337ar.

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Equal Recognition seeks to restate the case in favour of liberal multiculturalism in a manner that is responsive to major objections that have been advanced by critics in recent years. The book engages, among other questions, with two central unresolved problems. First, how should ideas of culture and cultural preservation be understood, given widespread suspicion that these ideas rely on an unavowed, but objectionable, form of essentialism? And, second, what exactly is the normative basis of cultural rights claims, and what are the limits on those claims? My four commentators advance a variety of different criticisms of the book’s answers to these questions. I offer replies to each of their main challenges.

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WON, Eunyoung. "SOCIAL CONDITIONS OF FILM CRITICS IN SOUTH KOREA FROM 2000 TO 2020." International Journal of Korean Humanities and Social Sciences 7 (December 27, 2021): 83–99. http://dx.doi.org/10.14746/kr.2021.07.04.

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This paper empirically analyzes the social status of film critics in the Korean film industry. Film critics contribute to the creation of films as producers of specific values in film art by producing cinematographic discourse. Then how does one become a film critic? How does the film critic space operate – which can be understood as structured based on the development of the market for film magazines in the 1990s? The result of quantitative and qualitative analysis of the social recruitment of film critics from 2000 to 2020 shows that those who attained the legitimate status of film critic by winning awards in contests possess a high level of academic capital. It was also found that the location of higher education among these laureates was mainly concentrated in Seoul. Although film critics are not fully institutionalized and have an artistic mission to some extent, to access the profession of film criticism, they need to be controlled by established film critics who share similar cultural and symbolic capital each other. This suggests that symbolic power exists in the world of film criticism and that the structure can be reproduced through gatekeeping by the owners of symbolic power.

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Iwanebel, Fejrian Yazdajird. "BHIKHU PAREKH CRITICS TOWARD MODERN PLURALISM." Teosofia 5, no. 2 (October 23, 2016): 103. http://dx.doi.org/10.21580/tos.v5i2.1722.

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Pluralism is judged by some thinkers as a response to their dissatisfaction with monism. The factual realities have made a self-evident that society's culture is plural. In this paper the author tries to describe three prominent figures who discuss about pluralism and the weaknesses of their thoughts. The author stands on the work of Bhikhu Parekh entitled "Rethinking Multiculturalism; Cultural Diversity and Political Theory". In Parekh's view, the three thinkers have criticized monism and wanted to propose the idea of cultural pluralism. Unfortunately, they are stuck on moral values which are integral and universal. So they are just returning to moral monism in explaining the reality of a diverse society. In this dialect, multiculturalism becomes a new alternative for intercultural dialogue that carries the mission of equality and freedom of expression which is accompanied by positive reciprocity leading to a dynamic civilization of constructive human life.

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Kokhan, T. G. "CULTUROLOGICAL ORIENTATORS OF MODERN UKRAINIAN CINEMA CRITICS." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 18–22. http://dx.doi.org/10.17721/ucs.2020.1(6).04.

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The article analyses the position of Ukrainian scientists, represented in their works during the first two decades of the XXI century, when the influence of the basis of the cultural analyses on the development of cinema critics has become appreciable. The accent has been made on new approaches both to the history of Ukrainian cinema in trying to understand personalized approach prevails and to the estimation of subject direction of the films shoot on the boundary of the XX – XXI centuries. It is underlined that film expert's attention was concentrated on the further improvement of notion-categorical apparatus which provides investigations in film critics. It is shown that film science outlines some human problems which having historical cultural traditions, can appear as aesthetical-artistic reference points in creative process. It is declared that the important aspect of the article is dedicated to the fixation of the art studies formation history in the process of cinema development. The role of Danish producer Urban Gad, the author of the book "Cinema, its means and aims" is marked. It is indicated that while constantly shooting films U.Gad summarized his own experience of work in the cinema making in the first European investigation in the cinema studies. It is underlined that taking into consideration the dynamics of cinematograph's development, using of historical and cultural achievements of the past as reference points for modern cinema theory demands caution and correctness. In the context of this thesis systematization and analysis of works of Ukrainian film critics on the activities of national cinematograph's development are presented both actual and expediency. It is shown that using in the cinema study fundamental principles of cultural analysis in particular cross-scientific personalization a composed element of biographic method – to correlate cinema analysis with material of such human sciences as aesthetics, ethics and psychology. It is noticed that taking into consideration collective character of the creation in cinematograph the principle of personalization objectively appraises the contribution of each representative of the cinematic group within the creative process.

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Palmer, Tanya. "Rape pornography, cultural harm and criminalisation." Northern Ireland Legal Quarterly 69, no. 1 (March 12, 2018): 37–58. http://dx.doi.org/10.53386/nilq.v69i1.77.

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In 2015 the offence of possessing extreme pornography (Criminal Justice and Immigration Act 2008, s 63) was extended to cover the possession of pornographic images of rape. Proponents of the legislation claim that rape pornography is ‘culturally harmful’, because it normalises and legitimates sexual violence. Critics have dismissed ‘cultural harm’ as poorly defined and lacking evidence. However, critical engagement with, and development of, this concept has been limited on both sides of the debate. This article fills that gap through a sustained theoretical exposition of the concept of cultural harm and detailed analysis of its role in justifying the criminalisation of rape pornography. It makes the case that at least some rape pornography is culturally harmful, but nevertheless concludes that criminalisation of the possession of rape pornography is not an appropriate response to that harm.

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Dembo, Morris, and B. R. Nanda. "Gandhi and His Critics." Journal of the American Oriental Society 106, no. 4 (October 1986): 891. http://dx.doi.org/10.2307/603628.

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Cocalis, Susan L., and W. E. Yates. "Nestroy and the Critics." German Studies Review 20, no. 3 (October 1997): 451. http://dx.doi.org/10.2307/1431381.

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Grenier, Yvon. "Octavio Paz: An Intellectual and his Critics." Mexican Studies/Estudios Mexicanos 21, no. 1 (2005): 251–67. http://dx.doi.org/10.1525/msem.2005.21.1.251.

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Las Guerras Culturales de Octavio Paz. By Armando Gonzáález Torres. Puebla: Secretaríía de Cultura; Mexico: Editorial Colibríí, 2002. Octavio Paz, A Meditation. By Ilan Stavans. Tucson: The University of Arizona Press, 2001. Octavio Paz y la poéética de la historia mexicana. By David A. Brading. Mexico: Fondo de Cultura Econóómica, 2002. Octavio Paz, Itinerary, An Intellectual Journey. Translated by Jason Wilson. San Diego: Harcourt Inc., 1999. Foreword by Charles Tomlinson and Afterword by Jason Wilson.

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Carrasco, Clare. "The Unlike Pair." Journal of Musicology 37, no. 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.

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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextually contingent concepts in postwar music criticism. They bore not only music-stylistic but also psychological, national, and racial implications, thus serving as important mechanisms through which critics could engage music in broader cultural and political debates. Even as critics writing after the Great War almost universally—if certainly reductively—aligned Schreker’s Chamber Symphony with impressionism and Schoenberg’s Chamber Symphony with expressionism, they fiercely disagreed about the relative cultural value of these contrasting orientations. Schoenberg and Schreker were thereby implicated in discussions that related their music to pressing contemporary questions of political radicalism, national identity, and Jewishness. Critical reception of postwar performances of this “unlike pair” of chamber symphonies thus documents a consequential yet neglected chapter in the conceptual history of musical “impressionism” and “expressionism”: a chapter in which German-language critics first connected the two terms in a complex, politically laden relationship.

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S. Sultan, Sabbar. "The Academic-Industrial Duality in David Lodge's Nice Work." International Journal of Arabic-English Studies 10, no. 1 (January 1, 2009): 73–84. http://dx.doi.org/10.33806/ijaes2000.10.1.6.

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The following paper is an attempt to read David Lodge's Nice Work with a particular reference to the position of the academic critic in the present world and its challenges. It comprises two sections: the first is preliminary, covering the various misconceptions held about critics and their field. The second gives a detailed analysis of how Robyn Penrose shows a firm faith in her cultural and critical enterprise and at the same time reaches a reconciliation with the real working life..

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Whipple, Kelsey. "When Everyone’s a Critic: How U.S. Arts and Culture Critics Strategize to Maintain Their Cultural Authority." Journalism Studies 23, no. 2 (December 26, 2021): 245–62. http://dx.doi.org/10.1080/1461670x.2021.2017794.

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Badmington, Neil. "An Undefined Something Else: Barthes, Culture, Neutral Life." Theory, Culture & Society 37, no. 4 (April 6, 2020): 65–76. http://dx.doi.org/10.1177/0263276420910493.

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How might Roland Barthes’ posthumously published account of the Neutral invite us to rethink the very activity of cultural analysis? How did Barthes the cultural critic change when, towards the end of his career, he described and desired Neutral Life? Cultural criticism has often taken Barthes’ early semiological work as a guide, but this essay examines how we might need to reorient ourselves as critics, shift our stance, learn to look and live differently in the light of Barthes’ later focus on the Neutral.

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Gordon, Alec. "Plantation colonialism, capitalism, and critics." Journal of Contemporary Asia 30, no. 4 (January 2000): 465–91. http://dx.doi.org/10.1080/00472330080000461.

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Sciortino, Giuseppe, and Ronald Eyerman. "Reply to our critics." Ethnic and Racial Studies 44, no. 3 (January 11, 2021): 439–47. http://dx.doi.org/10.1080/01419870.2021.1849759.

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Heartney, Eleanor. "What Are Critics for?" American Art 16, no. 1 (April 2002): 4–8. http://dx.doi.org/10.1086/444652.

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Tkachuk, Olena. "National cultural identity by Joseph Conrad under his first critics eyes." Scientific papers of Berdiansk State Pedagogical University. Series: Philological sciences 17 (December 23, 2018): 132–38. http://dx.doi.org/10.31494/2412-933x-2018-1-7-132-138.

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Shrum, Wesley. "Critics and Publics: Cultural Mediation in Highbrow and Popular Performing Arts." American Journal of Sociology 97, no. 2 (September 1991): 347–75. http://dx.doi.org/10.1086/229782.

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Bentley, Charlotte. "Beyond Verismo: Massenet's La Navarraise and ‘Realism’ in Fin-de-siècle Paris." Journal of the Royal Musical Association 144, no. 1 (2019): 29–54. http://dx.doi.org/10.1080/02690403.2018.1507117.

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AbstractThe ‘réalisme’ of Massenet's La Navarraise divided critics at its belated Parisian première on 3 October 1895. While the opera has typically been read as a straightforward attempt at French verismo, this article suggests a more complex set of ways in which modernity and the modern world shaped critical perceptions of and responses to realism. Placing La Navarraise within its wider cultural and technological contexts, I argue that the critics’ ambivalence to its realism provides insight into the changing and contested nature of critical perception and subjectivity in Paris in the final years of the nineteenth century.

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Percy, Carol. "Robert Lowth and the Critics." Historiographia Linguistica 39, no. 1 (March 22, 2012): 9–26. http://dx.doi.org/10.1075/hl.39.1.02per.

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Summary This article provides a broad intellectual context for Robert Lowth’s (1710–1787) Short Introduction to English Grammar (1762), and in particular for the footnotes or “Critical Notes” in which he documented the grammatical errors of great dead writers. It is well known that Lowth’s notes were innovative in the English grammatical tradition, and that they contrasted and qualified the “Examples from the best Writers” in the Dictionary of the English Language (1755) by Samuel Johnson (1709–1784). Here the author places Lowth in broader context and demonstrate that the ‘bad’ grammar of vernacular classics had already been publicized in debates about translating the bible and editing Shakespeare. In the concluding discussion I draw on current studies of literary canons to argue that by crystallizing the difference between literary and standard language, Lowth’s grammar increased the socio-cultural capital of both.

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Omelchuk, Olesia. "Koriak’s Cultural Critique." Слово і Час, no. 7 (July 21, 2019): 18–26. http://dx.doi.org/10.33608/0236-1477.2019.07.18-26.

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According to the author of the article, the content and directions of literary criticism of Volodymyr Koriak (1889–1937) were determined by the idea of proletarian culture. Its basic principle was the struggle between the bourgeois and proletarian world, formulated in the philosophy of Marxism. However, this concept was not suﬃcient to build the concept of Ukrainian proletarian literature. In 1920s the most problematic for the critics was the choice of the criteria for identifying the literary text as a proletarian one. They had to take into account such non-textual factors as the author’s biography, national cultural forms, historical inﬂuences of Europeanism, colonialism, anti-colonialism, nationalism, imperialism, etc. Koriak’s works reﬂect the conﬂicts and compromises that the concept of Ukrainian proletarian literature underwent during 1919 – 1934. Especially complicated were such topics as the history of Ukrainian Marxist-proletarian thought, the ‘Borotbyst’ narrative, the issues of proletarian style and bourgeois cultural inﬂuences. The Ukrainian ‘narodnytstvo’ became a major part of Koriak’s critique. As a result, the bourgeois legacy (namely modernism, ‘narodnytstvo’, ‘national literature’) in Koriak’s literary-critical discourse received a particular negative evaluation. Koriak’s literary work testiﬁ es to the fact that the proletarian-Marxist criticism of his contemporaries is featured by the coexistence of the three schemes of constructing proletarian literature: proletarian literature as terra nova; proletarian literature as a continuation of the socialist ideas of the pre-October literary works; proletarian literature as a transformation of the past (bourgeois) qualities and their recombination with new proletarian ones.

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Lambert, Fernando, and Rand Bishop. "African Critics: The Forming of Critical Standards (1947-1966)." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 24, no. 1 (1990): 102. http://dx.doi.org/10.2307/485596.

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p, p., and p. p. "Cultural Intermediaries: How Local Experts Shape the Financial Performance of Foreign Cultural Products." International Academy of Global Business and Trade 20, no. 1 (February 29, 2024): 143–62. http://dx.doi.org/10.20294/jgbt.2024.20.1.143.

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Purpose - This study examines the pivotal role of local expert reviewers in the financial success of imported foreign films (Hollywood movies) within the Chinese market. It integrates signaling theory and gatekeeping scholarship to examine how these intermediaries reduce mainstream uncertainty. We hypothesize local expert reviewers to better grasp spaces for resonance between imported films and local preferences compared to foreign critics. Moreover, we examine the moderating roles of films attributes such as production scale, prestigious awards, and local adaptation strategies. Design/Methodology/Approach - We test hypothesized relationships and contingencies via OLS regressions on box office performance spanning 500 top-grossing Hollywood studio imports in China from 2000 2017 with data from multiple sources. Findings - The OLS regressions reveal that local expert reviewers significantly influence cross-border film success, with the impact moderated by production budgets and awards, but potentially diminished by cultural adaptation. Research Implications - Our study unpacks market drivers and product-level contingencies around imported creative products amidst mainstream uncertainty. The findings contribute to international business literature and cultural business by showcasing the nuanced impact of local cultural intermediaries on the financial performance of foreign cultural products. This research underscores the importance of local expert opinions in navigating the complex landscape of global content distribution and consumption, offering valuable insights for content creators and marketers aiming to optimize the global reach of products.

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CUTTICA, CESARE. "THE INTELLECTUAL HISTORIAN AS CRITIC: REFLECTIONS ON THE WORK OF STEFAN COLLINI." Modern Intellectual History 16, no. 1 (March 20, 2017): 251–80. http://dx.doi.org/10.1017/s1479244317000014.

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This article examines the work of the intellectual historian and critic Stefan Collini (1947–). It illustrates his methodological approach to the study of history; traces the unexpected similarities between his intellectual practice and that of cultural critics as diverse as Matthew Arnold and William Empson; points to the differences in content and vision informing his manifold scholarly pursuits and those of other intellectual historians (e.g. Skinner) as well as critics (e.g. Mulhern and Eagleton); and levels some criticism at his writings. Specific attention is given to the centrality of cadence, congeniality, irony and sympathy, as well as to the function of the intellectual portrait in his narrative. The article's main claim is that Collini's history writing is better understood as the embodiment of the activity of the intellectual historian as critic. Situated within a broad range of different historical and critical practices, Collini's own practice is thoroughly analyzed both for its intrinsic value and for providing an original picture of the activity generally referred to as “intellectual history.”

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Whitenton, Michael R. "Questioning the Questions around Jesus’s Authority in Mark 11:27–33: A Performance Perspective." Religions 14, no. 8 (July 27, 2023): 972. http://dx.doi.org/10.3390/rel14080972.

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The rise of performance criticism prompts questions about its relationship to other disciplines, most notably narrative criticism. While narrative critics traditionally focus solely on the textual elements within their cultural context, performance critics adopt a broader understanding of the term “text”, encompassing not only the cultural context but also performative aspects, such as the setting for public reading, the involvement of a skilled performer, and dynamics introduced by a diverse performance audience. This article demonstrates the distinctiveness of a performance-critical approach through a reappraisal of Mark 11:27–33, showing how such an approach yields different interpretive results when compared to traditional narrative criticism. More specifically, whereas traditional narrative readings generally conclude that Jesus is merely evading his interlocutors, I argue that a performance-critical approach suggests that many ancient listeners would have concluded that the lector-as-Jesus was insinuating, for those with ears to hear, that Jesus’s authority derives from God and was granted at his baptism.

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Francis, Conseula. "Reading and Theorizing James Baldwin: A Bibliographic Essay." James Baldwin Review 1, no. 1 (September 29, 2015): 179–98. http://dx.doi.org/10.7227/jbr.1.11.

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Readers and critics alike, for the past sixty years, generally agree that Baldwin is a major African-American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, Baldwin’s work resists easy categorization and Baldwin scholarship, consequently, spans the critical horizon. This essay provides an overview of the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This period ends with Time declaring Baldwin too passé to publish an interview with him and with critics questioning his relevance. The second period, 1974–87, finds critics attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to codify the African-American literary canon in anthologies and American universities. Finally, scholarship in the period after Baldwin’s death takes the opportunity to challenge common assumptions and silences surrounding Baldwin’s work. Armed with the methodologies of cultural studies and the critical insights of queer theory, critics set the stage for the current Baldwin renaissance.

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Webb, Karl E., and Harry Zohn. "Karl Kraus and the Critics." German Studies Review 22, no. 1 (February 1999): 127. http://dx.doi.org/10.2307/1431602.

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Stoehr, Ingo R., and Patricia H. Stanley. "Wolfgang Hildesheimer and His Critics." German Studies Review 19, no. 2 (May 1996): 390. http://dx.doi.org/10.2307/1432060.

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Yanov, Alexander. "Perestroika and Its American Critics." Slavic Review 47, no. 4 (1988): 716–25. http://dx.doi.org/10.2307/2498191.

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CONRADI, PETER. "Three critics and the sublime." Critical Quarterly 27, no. 1 (March 1985): 25–42. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00757.x.

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Wilt, Judith. "Poets, Critics, and God-Talk." Victorian Literature and Culture 25, no. 1 (1997): 181–90. http://dx.doi.org/10.1017/s1060150300004691.

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She'd had no end of myths about immortals coming down and taking human bodies, dying human deaths. Helen knew how to interpret that scripture: if gods could do this human thing, then we could as well. That plot as the mind's brainchild, awareness explaining itself to itself.…She'd had the bit about the soul fastened to a dying animal. What she needed, in order to forgive our race and live here in peace, was faith's flip side … how body stumbled onto the stricken celestial, how it taught itself to twig time and what lay beyond time. (Powers, 319–320)

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Abrahams, Roger D., Jean-Christophe Agnew, Katerina Clark, Michael Holquist, Giles Gunn, Peter Stallybrass, Allon White, Michael D. Bristol, Tzvetan Todorov, and Stephen Mullaney. "Bakhtin, the Critics, and Folklore." Journal of American Folklore 102, no. 404 (April 1989): 202. http://dx.doi.org/10.2307/540685.

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Mackenzie, John M. "A reply to my critics." Nineteenth-Century Contexts 19, no. 1 (January 1995): 91–100. http://dx.doi.org/10.1080/08905499508583415.

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Coolahan, Marie-Louise. "The Cultural Dynamics of Reception." Journal of Medieval and Early Modern Studies 50, no. 1 (January 1, 2020): 1–12. http://dx.doi.org/10.1215/10829636-7986553.

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The cultural dynamics of reception are best understood as a reiterative process of reshaping and reframing. Reception as an object of critical study embraces first the history of how texts were read, disseminated, and consumed across media, languages, and geographical regions. But if this is the first port of call, such analysis quickly draws in questions about the relationship between reception and production, audience and agency, about contemporary and posthumous reputation. This special issue investigates the ways in which the act of reception is a reiterative process on a continuous spectrum with cultural production. Receivers — of texts, events, reputations — are mediators, creatively reconstituting that which they receive according to their own agendas and contemporary imperatives. The articles in this collection embrace international, comparative, and new material contexts for early modern reception studies as they address poetry, romance, letters, history, hagiography, autobiography, and literary reviews. The transnational perspectives that emerge lead from the Low Countries to Italy, Ireland to France and the Spanish Netherlands, Spain to England, and England to France. The introductory essay for the issue additionally examines recent digital projects concerned with the history of reading and reception, exploring in particular how digital resource design foregrounds questions of representation and our immersion, as critics, in the act of reception.

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Adjei, Paul Banahene. "Mazrui and His Critics." American Journal of Islam and Society 22, no. 2 (April 1, 2005): 87–89. http://dx.doi.org/10.35632/ajis.v22i2.1724.

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This work is a review essay of two books: Africanity Redefined: CollectedEssays of Ali A. Mazrui, edited by Ali Alamin Mazrui, Ricardo ReneLaremont, Tracia Leacock Seghatolislami, Michael A. Toler, and FouadKalouche (Africa World Press: 2002) and Governace and Leadership:Debating the African Condition: Ali Mazrui and His Critics, edited byAlamin M. Mazrui and Willy Mutunga (Africa World Press: 2003) Theseare the first two volumes in a three-volume work dealing with the correspondenceamong Ali Mazrui and his opponents, as well as his supporters,on issues relating to Africa.Mazrui, a Kenyan scholar, is currently Albert Schweitzer professor inhumanities and director of the Institute of Global Cultural Studies, BinghamtonUniversity, State University of New York. An Oxford scholar, he isalso Albert Luthuli professor-at-large in humanities and development studiesat the University of Jos, Nigeria, as well as Andrew D. White professorat-large emeritus and senior scholar in Africana studies at CornellUniversity (www.islamonline.net). In addition, he has authored many publicationsand television and radio documentaries. Perhaps his best-knownwork in the West is his BBC radio and television documentary series “TheAfricans,” which was co-produced by the BBC and the public televisionstation WETA.Writing on Mazrui, Sulayman Nyang of Howard University states:Ali Mazrui is a controversial but independent and original thinker. He isa master word-monger and certainly does not belong to that class of menwho lament that words fail them. …It is because of his conjurer’s abilityto negotiate between the realm of serious issues and the province of ...

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Varriale, Simone. "Reconceptualizing Aesthetic Cosmopolitanism: Evidence From the Early Consecration of Anglo-American Pop-Rock in Italy." American Behavioral Scientist 65, no. 1 (September 15, 2018): 99–115. http://dx.doi.org/10.1177/0002764218800139.

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This article explores how foreign, recently imported cultural forms can redefine the dynamics of legitimation in national cultural fields. Drawing on archival research, the article discusses the early consecration of Anglo-American pop-rock in 1970s Italy and analyzes the articles published by three specialist music magazines. Findings reveal the emergence of a shared pop-rock canon among Italian critics, but also that this “cosmopolitan capital” was mobilized to implement competing editorial projects. Italian critics promoted both different strategies of legitimation vis-à-vis contemporary popular music and opposite views of cultural globalization as a social process. Theoretically, the article conceptualizes “aesthetic cosmopolitanism” as a symbolic resource that can be realized through competing institutional projects, rather than as a homogeneous cultural disposition.

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Journal articles on the topic 'Cultural critics'

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