James Chandler - Doing Criticism

20 20.Even McDonald’s Death of the Critic, which seeks to address a more expansive sense of the term, tends to resort to literary criticism as paradigmatic for criticism as such (see Rónán McDonald, The Death of the Critic [New York: Continuum, 2007]).

21 21.Hortense Spillers, “Formalism Comes to Harlem,” Black, White, and in Color: Essays on American Literature and Culture (Chicago: University of Chicago Press, 2003), pp. 84–85.

22 22.Virginia Jackson, in a number of contexts, has tracked what she calls the history of “lyricization” in literary criticism. See, for example, her essay “Who Reads Poetry?” PMLA, vol. 123, no. 1 (Jan. 2008): 181–87.

23 23.Note the complications with the term literature that emerge when we extend our horizon to “world literature”; see David Damrosch, How to Read World Literature (Malden, Mass.: Wiley-Blackwell, 2009), pp. 6–23.

24 24.John Ruskin, “Chapter VI: The Nature of Gothic,” The Stones of Venice, 3 vols. (New York: John Lovell Company, 1851), 2:152–230.

25 25.It is of course not quite the same, since one involves labor in production of the work the other in its represented story or diegesis. See Clerks, dir. Kevin Smith (1994).

26 26.See Noël Carroll, On Criticism (New York: Routledge, 2009).

27 27.Northrop Frye, Anatomy of Criticism: Four Essays (Princeton, NJ: Princeton University Press, 1990), pp. 3–4.

28 28.Tom Lehrer, “Clementine,” An Evening Wasted with Tom Lehrer (Reprise 6199, 1959).

29 29.Wordsworth, Preface to the Lyrical Ballads, in Prose Works, 1:127.

30 30.See Inside Llewyn Davis, dir. Joel and Ethan Coen (2013).

31 31.See Bob Dylan, Chronicles: Volume One (New York: Simon & Schuster, 2004).

32 32.Frye, Anatomy of Criticism, p. 4 (when Frye says “criticism,” he means literary criticism).

33 33.See Jean Epstein: Critical Essays and New Translations, ed. Sarah Keller and Jason N. Paul (Amsterdam: Amsterdam University Press, 2012).

34 34.See Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (Cambridge, Mass.: Harvard University Press, 1979). For a discussion of Cavell on cinema, Modernism, and the ordinary, see my “Literature among the Objects of Modernist Criticism: Value, Medium, Genre,” in The Values of Literary Studies, ed. Ronan McDonald (Cambridge: Cambridge University Press, 2015), pp. 150–54.

35 35.Shaun of the Dead, dir. Edgar Wright (2004). See High Fidelity, dir. Stephen Frears (2000).

36 36.See Bullets over Broadway, dir. Woody Allen (1994).

37 37.See High Art, dir. Lisa Cholodenko (1998).

38 38.See Stranger than Fiction, dir. Marc Forster (2006), and Adaptation, dir. Spike Jonze (2002).

39 39.See Reservoir Dogs, dir. Quentin Tarantino (1992), and The Sopranos (1999–2007).

40 40.See Swingers, dir. Doug Liman (1996), and Goodfellas, dir. Martin Scorscese (1990).

41 41.Kevin Smith, Clerks [screenplay] (New York: Faber and Faber, 2000).

42 42.See, for example, Peter Wollen, whose example is Eisenstein, in Peter Wollen, Signs and Meaning in the Cinema (New York: Palgrave Macmillan, 2013 [1969]).

43 43.Williams, Politics and Letters: Interviews with “New Left Review” (Brooklyn, NY: Verso, 2015 [1979]), p. 191.

44 44.See Gösta Werner, “James Joyce and Sergej Eisenstein,” trans. Erik Gunnemark, James Joyce Quarterly, vol. 27 (Spring 1990): 504.

45 45.See Annette Michelson, “Reading Eisenstein Reading Capital (Part 2),” October, vol. 3 (Spring 1977): 82–89.

46 46.Eliot wrote in 1936, “At no period is the visual imagination conspicuous in Milton’s poetry.” T. S. Eliot, “Milton I” in Selected Prose of T. S. Eliot, ed. Frank Kermode (Cambridge, Mass.: Harvard University Press, 1975), p. 259.

47 47.Sergei Eisenstein, The Film Sense, trans. and ed. Jay Leyda (New York: Harcourt Brace, 1975), p. 32.

48 48.John Milton, Paradise Lost, ed. Alastair Fowler (New York: Routledge, 2013), lines 1–26.

49 49.See John Barrell’s discussion of blank verse in Poetry, Language and Politics (Manchester, UK: Manchester University Press, 1988), esp. pp. 108–9.

50 50.See Eisenstein, The Film Sense, p. 46.

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