APA 6th Edition Jukić, T. (2015). The Awful Truth: On Metonymic Rationality in Hawks and Cavell. Studia Romanica et Anglica Zagrabiensia, 60 (-), 99-115. Preuzeto s https://hrcak.srce.hr/168205
MLA 8th Edition Jukić, Tatjana. "The Awful Truth: On Metonymic Rationality in Hawks and Cavell." Studia Romanica et Anglica Zagrabiensia, vol. 60, br. -, 2015, str. 99-115. https://hrcak.srce.hr/168205. Citirano 19.01.2021.
Chicago 17th Edition Jukić, Tatjana. "The Awful Truth: On Metonymic Rationality in Hawks and Cavell." Studia Romanica et Anglica Zagrabiensia 60, br. - (2015): 99-115. https://hrcak.srce.hr/168205
Harvard Jukić, T. (2015). 'The Awful Truth: On Metonymic Rationality in Hawks and Cavell', Studia Romanica et Anglica Zagrabiensia, 60(-), str. 99-115. Preuzeto s: https://hrcak.srce.hr/168205 (Datum pristupa: 19.01.2021.)
Vancouver Jukić T. The Awful Truth: On Metonymic Rationality in Hawks and Cavell. Studia Romanica et Anglica Zagrabiensia [Internet]. 2015 [pristupljeno 19.01.2021.];60(-):99-115. Dostupno na: https://hrcak.srce.hr/168205
IEEE T. Jukić, "The Awful Truth: On Metonymic Rationality in Hawks and Cavell", Studia Romanica et Anglica Zagrabiensia, vol.60, br. -, str. 99-115, 2015. [Online]. Dostupno na: https://hrcak.srce.hr/168205. [Citirano: 19.01.2021.]
Sažetak When Stanley Cavell analyzes Hollywood comedies of remarriage, he mobilizes their
narratives as the platform from which to address America as a political and a philosophical
project.
This
is
also
where
Cavell
acknowledges
the
affinity
of
the
cinematic
narrative
and
psychoanalysis,
most notably
perhaps
in
his
sustained interest
in
the
Hollywood
woman
as
a
spectacle
of
crisis
and
critique.
With
this
in
mind,
I
propose
to
discuss
the Cavellian
woman, of his cinema books, who dominates the “green world”
of
the Hollywood
remarriage comedy: the
bucolic
story-space which
Cavell
associates
with
the
Emersonian
vision
of
America
and
identifies
as
definitive
to
its
critical
character.
I focus however on the comedy in which there seems to be no climactic
green world – Howard Hawks’ His Girl Friday (1940) – and argue that Hawks’ woman
mobilizes metropolitan courtrooms and the adjacent spaces in a similar fashion, as if
to suggest that the Emersonian green world is not absent from Hawks’ film but rather
metonymic to the positions America would assign to (pure) reason. Finally, I show
how this Cavellian complex corresponds to Gilles Deleuze’s philosophical fascination
with woman, film and America.