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Paul Greenberg Presentation
No full textPaul Greenberg is the James Beard award-winning author of the New York Times bestseller and Notable Book Four Fish: The Future of the Last Wild Food. A regular contributor to the New York Times' Opinion Page, Magazine, Dining section, and Book Review, Greenberg lectures widely on seafood and ocean sustainability</p
Michael Greenberg speaks at WCSU
No full textAuthor Michael Greenberg speaks at Western Connecticut State University on October 9, 2009
Michael Greenberg Speaks at WCSU
No full textAuthor Michael Greenberg speaks to a small group during the day on October 28, 2009.</p
ABOUT MIKHAIL S. GREENBERG
No full textThe introductory article of the issue – the obituary – is devoted to the outstanding Soviet and Russian lawyer – professor Mikhail S. Greenberg. The author dwells on the main mile-stones of M.S. Greenberg's scientific biography: from studying at Leningrad State University to conferring the title "Honoured Lawyer of the Russian Federation" during his work in Omsk State University, highlights the main provisions of his scientific works, characterizes the personal qualities of M.S. Greenberg
Michael Greenberg speaks at WCSU
No full textAuthor Michael Greenberg talks about his book, Hurry Down Sunshine, at Western Connecticut State University on October 28, 2009
Michael Greenberg Speaks at WCSU
No full textAuthor Michael Greenberg speaks to a small group on the afternoon of October 28, 2009 at WestConn
Presentation of Nostra Aetate Award to Rabbi Irving (Yitz) Greenberg
No full textBarry Sternlicht is chairman and CEO of Starwood Hotels and Resorts
Český Greenberg? Mukařovský a estetický formalismus
No full text[A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part of social social interactions. Though the author of the article agrees with this analysis of Czechoslovak modernism as anti-formalist, he seeks to draw attention to the writings of the Czech literary theorist Jan Mukařovský, which were contemporaneous with Chalupecký’s and Greenberg’s--in particular Mukařovský’s 1944 lecture “The Essence of the Visual Arts.” The author provides a comparative analysis of Mukařovský and Greenberg, suggesting that the former was quite close to the latter’s “formalism.” This might seem incorrect, given that Mukařovský is considered to be a precursor of the semiotic theory of art, which is generally understood as antithetical to formalism. The solution, he argues, is to realize that Greenberg is subtler, hence not so "formalist” after all. At any rate, it turns out that in addition to Chalupecký’s “social” theory of art, Mukařovský had a more “formalist” alternative which – for well-known historical reasons – had no effect on the subsequent
development of Czechoslovak modernism
Cannibals and Catholics: Reading the Reading of Evelyn Waugh\u27s Black Mischief
No full textJonathan Greenberg (Montclair State University) explores satire\u27s unstable dynamic of enjoyment and identification, one always threatening to careen out of the author\u27s control. As an example of this instability, Greenberg offers the messy public debate in which Waugh attempted to defend himself from the Catholic press\u27s charge that his novel “Black Mischief” was an immoral book, and Greenberg uses this debate as a point of departure to explore satire\u27s dialectical nature: the structural inextricability of morality and sadistic pleasure, outrage and amusement, anger and blasé indifference
Clement Greenberg pelo avesso
No full textThis article is the result from a reflexive effort, having as a subject the american critic of art Clement Greenberg, his works and his activity on the art field. This author, known by his controversial theoretic positions, is analysed through his before and through his after. The cultural context where his writing has been produced is considered, not as a cause, but as a source of theoretical problems, to which his critical work answers. Showing the theoretic rumour, which is contemporary to the activity of this author and constituted by non-artistical questions, we propose a critical distance, through which we try to comprehend Greenberg's most important texts. The platform of analysis settled by the historical context is also used for a brief survey on the legacy of these texts, considering the reactions to formalism in our days.Este artigo é o resultado de um esforço reflexivo tendo como tema o crítico de arte norte-americano Clement Greenberg, sua obra e sua atuação no campo das artes. Esse autor de posições teóricas polêmicas é, aqui, analisado pelo seu antes e pelo seu depois. O contexto cultural em que se produziu a sua escrita é visado, não como causa, mas como fornecedor de problemas teóricos aos quais a crítica greenberguiana responderá. Apontando esse rumor teórico, contemporâneo à atividade do autor, e atravessado por questões extra-artísticas, propomos um distanciamento crítico através do qual se busca a compreensão dos principais textos de Greenberg. A plataforma analítica estabelecida pela contextualização histórica também é experimentada em um breve levantamento do legado desses textos, observando-se como as reações ao formalismo ainda reverberam na contemporaneidade
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