Excerpt from Elements of Criticism, Vol. 1 After the utmolt efforts, we find it beyond Our power to conceive the avour ofa rofc to erdi in the mind: we are neceffarily led to conceive that pleafure as exilling in the nol'crils along With the imprefiion made by the rofo Upon that organ. And the fame will be the refult of ex periments with refpec't to every feeling of talie, touch, anddfmell. Touch affords the moft fatisfaetory Ccri ments. Were it not that the delufion is deteeted by phi lofophy, no perfon would hefitate to pronounce, that the pleafure arifing from touching a fmooth, foft, and velvet furface, has its exifience at the ends of the fingers, with. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.

Reproduction of the original: Elements of Criticism by Henry Home Kames

With contributions from 30 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies. Chapters address various methods of textual analysis, as well as reception studies, policy, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses emergent technologies and new research tools in such areas as software studies, gaming, and digital humanities. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research. Together, the chapters in this collection give media critics a complete toolbox of essential critical media studies methodologies.

Television Criticism, Third Edition by Victoria O’Donnell provides a foundational approach to the nature of television criticism. Rhetorical studies, cultural studies, representation, narrative theories, and postmodernism are established for greater understanding and appreciation of the critical perspectives on television. Illustrated with contemporary examples, this updated Third Edition includes a new, extensive sample critical analysis of The Big Bang Theory and reflects recent changes in the ways television is viewed across multiple devices and the impact of the Internet on television.

To avoid criticism, say nothing, do nothing, be nothing. Aristotle At the age of 37 I learned to see criticism as a valuable tool, rather than something to be avoided or feared. This came about in the life-altering workshop with Dr. John Savage. My eyes were opened to the possibility, wisdom and power of intentional communication including criticism. This change improved my relationships: personally, family, socially, professionally, academically, financially and with myself profoundly. I confess that up to that point in my life, I had pretty much taken relationships for granted. From that point forward I have endeavored to continually learn about communication and relationships. I now know that it is possible to present and respond to criticism without making things worse, without adding fuel to the fire. I now know that potentially explosive situations can be skillfully defused or diffused, so that people can dance rather than fight, even in difficult situations. I now know that people can move from conflict to conversation and acknowledge the observation and experience of the person offering criticism. This approach makes way for possibilities other than the fight or flight syndrome, manifested as a skunk or turtle mode of survival. Occasionally, there are freeze responses resulting in a stalemate. Fight or flight offers the option of going into battle or waving the white flag of surrender, yielding merely a winner and a loser with no resolution. According to Dr. Hendrie Weisinger, in the introduction of his book, The Positive Power of Criticism, the Greek concept of criticism is to serve as a neutral, objective appraisal of ideas and actions. Criticism can be regarded as a judgment, evaluation or an appraisal intended to improve or advance, leading to new resources and skills. For this to be so requires moving away from the attitude and belief that ones own presuppositions, perceptions, and biases are absolute and correct.

Narrative criticism is a relatively recent development that applies literary methods to the study of Scripture. James Resseguie suggests that this approach to reading the Bible treats the text as a self-contained unit and avoids complications raised by other critical methods of interpretation. Resseguie begins with an introductory chapter that surveys the methods of narrative criticism and how they can be used to discover important nuances of meaning through what he describes as a "close reading" of the text. He then devotes chapters to the principal rhetorical devices: setting, point of view, character, rhetoric, plot, and reader. Readers will find here an accessible introduction to the subject of narrative criticism and a richly rewarding approach to reading the Bible.