text's

The text's imagined spambots fill MOMA's inboxes with penis extension ads disguised as artist updates.

Paul McRandle: Westway Ho! Stewart Home at Performa 11 Paul McRandle 2011

The text's imagined spambots fill MOMA's inboxes with penis extension ads disguised as artist updates.

Paul McRandle: Westway Ho! Stewart Home at Performa 11 Paul McRandle 2011

The New Critics did indeed have a "theory" of the literary text as something dynamic and inherently dramatic (and reading as the experience of the text's dynamism), but it is not Bloom's, however much he might accept the underlying emphasis on the integrity of the literary text, free of the demands made on it by those with their own personal and political investments.

Principles of Literary Criticism 2010

The text's imagined spambots fill MOMA's inboxes with penis extension ads disguised as artist updates.

Paul McRandle: Westway Ho! Stewart Home at Performa 11 Paul McRandle 2011

Such criticism also attempts to "dive" in the Melvillean manner, providing "information" of a sort through patient description of the text's manifest (if not always immediately apparent) features (as experienced by the critic him/herself), but also drawing attention to the implications of the text's formal and stylistic qualities or putting the work in a relevant context, especially the context of literary history.

Principles of Literary Criticism 2010

(This is not quite the same thing as interpretation, which generally narrows the text's possibilities in order to pin down its "meaning"; the kind of reading I am describing is an attempt to expand those possibilities, to open up the text in order to make its palpable qualities more accessible.)

Principles of Literary Criticism 2010

Previn's music (with alto flutist Linda Toote joining Fleming and Höll) doesn't do much more than illustrate the text's surface, but does so with consistent flexibility and resourcefulness; the performance attained the tricky balance between journalistic observation and lush sadness.

To-morrow, and to-morrow, and to-morrow Matthew Guerrieri 2009

Lighting designer Adam Silverman took the text's constant references to darkness literally, and kept the stage largely plunged in gloom.

Glum Season for St. Louis Heidi Walesom 2011

Previn's music (with alto flutist Linda Toote joining Fleming and Höll) doesn't do much more than illustrate the text's surface, but does so with consistent flexibility and resourcefulness; the performance attained the tricky balance between journalistic observation and lush sadness.

Archive 2009-04-01 Matthew Guerrieri 2009

Lighting designer Adam Silverman took the text's constant references to darkness literally, and kept the stage largely plunged in gloom.

Glum Season for St. Louis Heidi Walesom 2011