They also give people the critical distance
they need to assess their lives, since questions about whether near-inescapable goals ought to be pursued do not even arise, making them an appropriate standard for judging other goals.
If a truly transgressive form of art is no longer possible, trapped as we are in the cultural logic of late capitalism that has posited an extension of the cultural and the economic into all societal spheres, leaving the notion of critical distance
debunked, then a resistant form of performance is possible only through a subversion of performance as the charismatic other or present authority while dispersing power amidst the spectators.
By exposing the limits of signification, such a text "permits a degree of disengagement from the sign-systems in which the writer is necessarily implicated," and in so doing, the dissident postmodernist provisionally redeems "lost critical distance
To their surprise, when the metals reached some critical distance
- about 2 angstroms apart - atoms of the gold suddenly broke loose from the plate, creating a surface crater, and welled up to coat the bottom of the nickel tip.
Hitchens suggests that a similar critical distance
would be healthy in America's view of Britain.
"Don't they lose something of their critical distance
in an era of instant detournement and hashtag-appended feminism?" the pedant in me worries.
In the recent internal hot debate among Taraf writers, I felt much closer to Alper GE[micro]rmE-E-, Yyldyray Oy-ur and so on, who advocated the view that Taraf must not be a hostile opposition paper but a paper with a critical distance
to every party and group.
Harper's descriptions, at times, lack critical distance
(e.g., at least two of the projects are described as "truly amazing"), and there are some grammatical and orthographic errors (e.g., "created from one ssence").
White's appraisal has the benefit of maintaining a critical distance
both from Bookchin's ideas and from those of his detractors, while highlighting specific themes relevant to contemporary ecological thought.
These 12 papers describe how intermediality applies to cinema, theater, postmodernism and new critical issues, covering such topics as Greenaway's The Pillow Book and its perceptions of writing and the body, identity and truth in filmic letters, deference and divergence in cases of the on-screen Jane Austen, Mamet's The Water Engine and intermediality, imaginary spaces in MacIvor's House, AIDS and Nureyev's Romeo and Juliet, Bret Easton Ellis and the MTV novel, the postmodern in Ellis as well as Palahniuk and Hornby, the new purpose of The Rime of the Ancient Mariner in the postmodern age, literary effects of author stardom, e-learning and critical distance
and Bridget Jones's Diary as an intermedial text.
Even though it does not seem necessary, Scafi follows the speculative trail up to the most recent crackpot websites, but in the later chapters the book wisely maintains a critical distance
from its increasingly eccentric subjects.
The best retain a certain sympathetic but critical distance
, advancing beyond the kind of worthy but dull paraphrase or partisan discipleship characteristic of some Balthasar studies.