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Armchair theorizing, also known as armchair philosophizing or armchair scholarship, is an approach to providing new developments in a field that does not involve primary research or data collection – but instead analysis or synthesis of existent scholarship. The term is typically pejorative, implying such scholarship is weak or frivolous.
Armchair revolutionary (or armchair activist and armchair socialist) is a description, often pejorative, of a speaker or writer who professes radical aims without taking any action to realize them, as if pontificating "from the comfort of the armchair".
The like button used on Facebook, a popular slacktivist tool. Slacktivism (a blend of slacker and activism) is the practice of supporting a political or social cause by means such as social media or online petitions, characterized as involving very little effort or commitment. [1]
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
The word "radical" derives from the Latin word "radix" ("root"). Thus, radical criticism means criticism that goes to the root of things, to the roots of the problem. Revolutionary criticism is criticism that aims to overturn or overthrow an existing idea or state of affairs. Thus, an existing idea may be turned upside down.
From the belief in a universal moral core of humanity, it followed that all persons were inherently free and equal. For liberal humanists such as Immanuel Kant, the universal law of reason was a guide towards total emancipation from any kind of tyranny. [5] Criticism of humanism as over-idealistic began in the 19th century.
A translation of a phrase from French film criticism, plan américain, which refers to a medium-long ("knee") film shot of a group of characters, who are arranged so that all are visible to the camera. The usual arrangement is for the actors to stand in an irregular line from one side of the screen to the other, with the actors at the end ...
Bakhtin begins by identifying polyphony as the chief characteristic of Dostoevsky's work: "A plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices..." [10] The discussion of polyphony and its incommensurability with the usual monological approach to writing and criticism is followed by an overview of the currently available scholarly ...