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The fifteenth century defies consensus on fundamental issues; most scholars agree, however, that this period outgrew the Middle Ages, that it was a time of transition and a passage to modern times. Founded in 1977 as the publication organ for the Fifteenth-Century Symposia, 'Fifteenth-Century Studies' offers essays on diverse aspects of the fifteenth century, including liberal and fine arts, historiography, medicine, and religion. Following the standard opening article on the current state of fifteenth-century drama research, volume 33 offers essays investigating authors such as Christine de Pizan, Hans Sachs, Hartmann Schedel, Alain Chartier, and Robert Henryson. Genres and themes treated include drama, epistles of persuasion, late Arthurian romances, translations, mythology and folklore, print media, and art appreciation. Alternative interpretations are afforded by Franco Mormando's study of male nakedness and the Franciscans. Twelve book reviews round out the volume. Contributors: Edelgard E. DuBruck, Tracy Adams, Lidia Amor, Roció del Río Fernández, Leonardas Vytautas Gerulaitis, Jonathan Green, Christiane J. Hessler, Ashby Kinch, Franco Mormondo, Alessandra Petrina. Edelgard E. DuBruck is professor emerita of French and Humanities at Marygrove College, Detroit, Michigan, and Barbara I. Gusick is professor emerita of English at Troy University, Dothan, Alabama

The fifteenth century defies consensus on fundamental issues; most scholars agree, however, that the period outgrew the Middle Ages, that it was a time of transition and a passage to modern times. 'Fifteenth-Century Studies' treats diverse aspects of the period, including liberal and fine arts, historiography, medicine, and religion. Volume 35 addresses topics including physical impairments as depicted in surgical handbooks printed in Germany and as reflected through eyeglasses for the blind (a therapy proposed by French vernacular poets); literary constructions of women in de Meun's 'Cité des Dames' and in hagiographic legends of Spain; the evolution of the Order of the Garter as dramatized in Shakespeare; serious elements in French farces; the festival context of Villon's 'Pet-au-Deable'; Boethius in the late Middle Ages; 'A Revelation of Purgatory' and Chaucer's Prioress; 'Piers Plowman' in one British Library manuscript; and narrative afterlife and time in Henryson's 'Testament of Cresseid.' Book reviews conclude the volume. Contributors: Milagros Alameda-Irizarry, Chiara Benati, Edelgard E. DuBruck, Rosanne Gasse, Chelsea Honeyman, Noel Harold Kaylor Jr., James N. Ortego II, E. L. Risden, Julie Singer, Geri L. Smith, Martin W. Walsh. Matthew Z. Heintzelman is Curator of the Austria/Germany Study Center and Rare Book Cataloger at Hill Museum & Manuscript Library, Saint John's University, Minnesota; Barbara I. Gusick is Professor Emerita of English at Troy University Dothan; Martin W. Walsh is Head of the Drama Program at the University of Michigan's Residential College

Founded in 1977 as the publication organ for the Fifteenth-Century Symposia, Fifteenth-Century Studies has appeared annually since then. It offers essays on diverse aspects of the 15th century, including liberal and fine arts, historiography, medicine, and religion. The 15th century defies consensus on fundamental issues; most scholars agree, however, that this period outgrew the Middle Ages, that it was a time of transition, and a passage to modern times. The current volume opens with the customary survey of research on 15th-century drama. Graham A. Runnalls and Jesse Hurlbut present their extensive bibliography of French miracle plays and mysteries, a work accumulated over 25 years. Continuing on the topic of late-medieval art, Edelgard DuBruck offers a study of gesture within the miniatures of the Passion Isabeau (1398). Barbara I. Gusick analyzes healing and social reorientation in Christ's transformation of Zacchaeus in the York Cycle; Mark Trowbridge investigates the Cleveland St. John the Baptist, attributed to Petrus Christus. Finally, this year's entry by Leonardas V. Gerulaitis provides Renaissance views on genius and madness. A book review section concludes the volume. Edelgard E. DuBruck is professor emerita of Modern Languages at Marygrove College, Detroit, Michigan, and Barbara I. Gusick is professor emerita of English at Troy University-Dothan, Dothan, Alabama

Cover -- Half Title -- Dedication -- Title Page -- Copyright Page -- Table of Contents -- General Editor's Preface -- Acknowledgements -- Introduction -- 1 Music and the City: Cultural Diversity in a Global Cosmopolis -- Musical Diversity and the Gateway to Empire -- Migration, Ethnic Diversity and Multiculturalism -- Urban Musical Landscapes and Places of Mixing and Exclusion -- American Connections and Local Sounds -- Music and the Production of the City -- Popular Music and Urban Social and Economic Change -- 2 Music as a City Sound: Rock Culture and the Poetics of Loss -- Rock Music in Liverpool -- Liverpool in Rock Music -- The Definitive Liverpool Sound -- Music, Lament and the Soul of the City -- Conclusion -- 3 Music as City Heritage: Decline and Renewal in the Nashville of the North -- Country Music in Liverpool -- Liverpool in Country Music -- Music and Alterity at the Heart of the City -- Conclusion -- 4 Music as a City Business: Trial, Tribulation and Place in a Labour of Love -- The Business of Music in Liverpool -- Liverpool in the Music Business -- Conclusion -- 5 Music as a City Industry: Haemorrhage, Debt and the Politics of Music Policy-Making -- Music Industry Policy-Making in Liverpool -- Liverpool in Music Industry Policy-Making -- Conclusion -- 6 Music and City Tourism: Respect, Betrayal and the Haunting of the Beatles -- Beatles Week 1996 -- Beatles Tourism in Liverpool: Development and Organization -- Liverpool in Beatles Tourism -- Tourism, the Beatles and a Musical Production of the City -- Conclusion -- 7 Music as a City Quarter: Brands, Noises and Regeneration -- Music and Regeneration in Liverpool -- Liverpool in Music and Culture-Led Regeneration -- Music Making a Noise -- Conclusion -- Conclusion -- Appendix: Methodology and Approach -- Bibliography -- Index

The debate about the state of film criticism has settled—or calcified—into two camps: traditional print critics claim the Internet has replaced expertise with amateurs, fanboys, and obscurantists. Web enthusiasts counter that we're in a new golden age of film criticism and accuse the traditionalists of jealousy, resentment, and Ludditism. In other words: idealization of the past versus idealization of the present; resolution via what Pauline Kael once referred to as "saphead objectivity."

Political trust and political efficacy are concepts currently undergoing considerable discussion and revision. The discussion of voting behavior in Campbell et al. (1954), Almond's and Verba's (1965) version of the participation hypothesis, Gamson's (1968) trust-efficacy hypothesis, and Verba's and Nie's (1972) standard socioeconomic model represent quite distinct and contrasting stages in the treatment of these concepts, but share some assumptions requiring additional discussion and clarification. One of these pertains to treatment of political criticism, measured with low scores of trust in government, as political cynicism. This is not so much an operational or methodological question as a theoretical framework that has never had much to say about the role of criticism in contemporary democratic societies. This essay proffers a case in which, high levels of interpersonal distrust and high levels of government criticism notwithstanding, it is possible to make this basic distinction. Path analyses of data from a national-sample survey show that criticism is triggered by predominantly political orientations, while cynicism is a rigidified form of criticism inseparable from the social circumstances of individuals. In addition, the evidence suggests that the sense of political efficacy does not play the pivotal role assigned to it in the literature.

This article analyses the digital literary criticism, which got rid of the obsession of academic Babylon in the field of literary criticism in the 1980s and revealed a more diverse field of voice, inspiring endless possibilities of variation in the transformative stage of criticism. The advent of the Internet has created a participatory field for literary criticism and a platform to weaken the distinction between identity and power. Equality disrupts the validity of authority and the structure of the knowledge circle, which is also the reason why digital literary criticism has a certain degree of carnivalesque traits. The authors believe that literary criticism in a digital context is no longer obsessed with the confusion of history and the uncertainty of time. While capturing the pulse of globalisation, it at the same time ardently embraces the value of desire endowed by consumer culture. The article points out that Chinese literary criticism in the new era is a product of the construction of multidimensional relations in a digital context, which sheds the shackles of historical context and rushes into the age of digitalisation. With the rapid flow of consumption, a very open, inclusive, and complex space of media discourse has emerged. The results of the study show that a group of numerous critics belonging to the postmodernist perspective is forming in the digital world. The authors conclude that in the confrontation between tradition and modernity, in the complex interweaving of elitist consciousness and mass consumption, in the struggle for discursive position between media and literature, digital literary criticism differs from traditional in terms of aesthetic standards, criticism style, criticism language and media platform, creating the macro future development of Chinese literary criticism with its independent attitude, revolutionary impulse and irresistible courage.

The Third Way is said to be the guiding philosophy for New Labour and centre-left parties and governments across the globe. Moving beyond attempts to define and defend the Third Way, this innovative collection embarks on a critical examination of this key concept. The editors draw on expert contributions from a range of disciplines and perspectives to dissect the Third Way in theory and in practice, assess its legacy and suggest alternatives. The book begins by reviewing attempts to define the Third Way. It then examines what the Third Way implies for our understanding of the economy and the state, before critically addressing the philosophical and practical implications of its attempt to use the term 'community'. The final section deconstructs Third Way rhetoric and discourse. The conclusion reviews how these critical insights might form a basis for alternative political projects. Written in a rigorous but accessible style, this interdisciplinary collection is essential reading for anyone with an interest in understanding a key idea propounded by New Labour and the contemporary centre-left. It will appeal to anyone studying politics, sociology, contemporary history, social policy, social and political theory, and applied philosophy. It provides both an introduction to the topic and new and original insights for specialists in the area.
Table of contents:
I The Third Way
Introduction Luke Martell
The route map of the Third Way Armando Barrientos and Martin Powell
II The Third Way, economics, equality and the State
North Atlantic drift: welfare reform and the 'Third Way' politics of New Labour and the New Democrats Stephen Driver
Generative equality, work and the Third Way: a managerial perspective Peter McCullen and Colin Harris
What matters is what works: the Third Way and the case of the Private Finance Initiative Eric Shaw
III Community and the Third Way
The communitarian 'philosophy' of New Labour Sarah Hale
The Third Way and the politics of community Eunice Goes
From organisational theory to the Third Way: continuities and contradictions underpinning Amitai Etzioni's communitarian
influence on New Labour Simon Prideaux
IV The discourse and strategy of the Third Way
Giddens's way with words Paul Cammack
New Labour, citizenship and the discourse of the Third Way David Morrison
Criticism and the future of the Third Way Will Leggett

Marx's method of critique via several philosophy of science categories reveals logical problems, as well as political biases, within different competing approaches of his period. Some principles subject to Marx's criticism include: metaphysics, ahistoricism, false universalisation, inversion, reductionism, idealism, obscurantism, incommensurability, and tautology. This paper examines these categories and their logical bases, the competing approaches Marx targets as politically biased because of their failure to either respect such principles or their violation of them, and the way in which, by extension, several traditions in modern social discourse reveal parallel political biases because of similar logical failures.

Now definitively liberated from the enduring legend that the publication of L'Œuvre (1886) ended Zola and Cézanne's lifelong friendship, that relationship needs to be explored from a number of other perspectives. This article argues that the Dreyfus Affair, during which the writer and painter were on opposite sides, was a major determinant of their parting of the ways. Ideological differences were exacerbated by the dynamics of the art market and Zola's writing on Cézanne. For it was in the interests of Ambroise Vollard, the art dealer launching Cézanne's career with his 1895 retrospective, as well as those of contemporaries sharing the artist's right-wing views, to disassociate the painter from the defender of Dreyfus. Zola's contrasting championing of Manet may have added a personal dimension to the rift. But Zola's art criticism was also strategically exploited by an anti-Dreyfusard discourse effecting a separation between writer and painter. The latter's acolytes and acquaintances invidiously brought to his attention Zola's critical ambivalence and the ex post facto identification of Cézanne with the fictional Claude Lantier of L'Œuvre. Both the novel and his art criticism offered further evidence of Zola's failure to recognize the painter's greatness, thereby paradoxically validating it at precisely the opportune commercial moment. As well as illuminating the vicissitudes of the Zola–Cézanne relationship, the article thus elaborates the political and critical context without which L'Œuvre itself continues to be misread as a roman-à-clef.