Sentence examples for language of criticism from inspiring English sources

"The language of criticism fit her like a glove.

The study of the aesthetic concepts, or, more specifically, the analysis of the "language of criticism," in which particular judgments are singled out and their logic and justification displayed.

In One Way Street, the section "This Space to Rent" compares the techniques of advertising in the street with the language of criticism.

There are several different but connected reasons for his passionate rejection of the views that came to infiltrate many humanities departments after the 1966 conference at Johns Hopkins, "The Language of Criticism and the Sciences of Man," at which Roland Barthes, Jacques Derrida, Jacques Lacan, et al., spoke.

Yet, instead of revitalizing the language of criticism to mirror the new international order of valuation and exchange, many within the new class of art patrons, critics, and collectors of the Western markets retain the language and fixed values of colonialist authority.

The Idea of the Humanities and Other Essays: Critical and Historical, Vol. 1, (Chicago and London: The University of Chicago Press, 1967. The Languages of Criticism and the Structure of Poetry, (University of Toronto Press, 1953).

His landmark book, The Languages of Criticism and the Structure of Poetry (1953), formed the theoretical basis of the group.

His Johns Hopkins career was far too brief, 1879 to 1884, but the shadow he cast was long enough for Macksey to invoke Peirce's chutzpah for "adapting the methods of one science to the investigation of another" during the opening remarks to The Languages of Criticism and the Sciences of Man symposium held at the Milton S. Eisenhower Library from October 18 to 21, 1966.

Halliday is quick to see that this is more than a joke at the expense of a man without the language of art criticism.

Just as Lily helps us grasp the sneaky complexity of power roles, without quite attaining that insight herself, so, too, does she help us look anew at Monet's work without ever breaking into the language of art criticism.

Shore's photography is, to use the ever-reductive language of art criticism, an attempt to reconcile the subject matter of the New York school of black-and-white street photography of the fifties — the love of the overlooked, the stray, the strange, the gutter, and the slummy — with the high finish and compositional poise of the Meyerowitz-Eggleston school of color photography.