hrcak mascot   Srce   HID

Izvorni znanstveni članak

The Awful Truth: On Metonymic Rationality in Hawks and Cavell

Tatjana Jukić

Puni tekst: engleski, pdf (481 KB) str. 99-115 preuzimanja: 262* citiraj
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 19.09.2019.
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: 19.09.2019.)
Vancouver
Jukić T. The Awful Truth: On Metonymic Rationality in Hawks and Cavell. Studia Romanica et Anglica Zagrabiensia [Internet]. 2015 [pristupljeno 19.09.2019.];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: 19.09.2019.]

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.

Ključne riječi
Stanley Cavell; Howard Hawks; American cinema; philosophy of film; metonymy

Hrčak ID: 168205

URI
https://hrcak.srce.hr/168205

Posjeta: 410 *