Critical Inquiry

ISSN: 0093-1896

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  1.  3
    : Allegorical Moments: Call to the Everyday.Charles Altieri - 2025 - Critical Inquiry 51 (2):432-433.
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  2.  2
    Critical Response I: Photography and AI: Why It Matters, Though.Brooke Belisle - 2025 - Critical Inquiry 51 (2):397-404.
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  3.  1
    : Take This Hammer: Work, Song, Crisis.Glen Billesbach - 2025 - Critical Inquiry 51 (2):434-435.
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  4.  1
    Critical Response II: Absconding from the Index.Ina Blom & Matthew Fuller - 2025 - Critical Inquiry 51 (2):405-408.
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  5. : A Delicate Matter: Art, Fragility, and Consumption in Eighteenth-Century France.Michael W. Clune - 2025 - Critical Inquiry 51 (2):435-436.
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  6. Critical Response III: Some Field Notes.Marc Downie - 2025 - Critical Inquiry 51 (2):409-415.
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  7.  9
    The National Security Novel: “Useful Fiction,” Persuasive Emotions, and the Securitization of Literature.Anders Engberg-Pedersen - 2025 - Critical Inquiry 51 (2):225-246.
    Since 2015, two influential American authors and military consultants have sought to leverage imaginative literature for the cause of national security. On the basis of concepts such as useful fiction and FICINT, a shorthand for fictional intelligence, they have sought to develop a new genre—the national security novel—which blends nonfictional research and predictive threat scenarios with the creative inventions and emotional appeal of fiction. In this article, I trace how the national security novel developed through a process of securitization, which (...)
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  8. : The Sociology of Literature.James F. English - 2025 - Critical Inquiry 51 (2):437-438.
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  9.  4
    Rehabilitory Modernism: László Moholy-Nagy’s Occupational Therapy at the School of Design in Chicago.James Graham - 2025 - Critical Inquiry 51 (2):316-346.
    Might design education be, at its heart, a form of occupational therapy? This is the question that this article grapples with, taking László Moholy-Nagy’s repurposing of the Bauhaus pedagogy for use with disabled veterans as its starting point. In exploring his work at the School of Design in Chicago (as well as an uncharacteristically activist period at the Museum of Modern Art in New York, which instituted a Veterans Art Center), this article seeks out the shared foundations of rehabilitory thought (...)
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  10.  3
    He Said/She Said: Free Indirect Style Before the Novel.Eve Houghton - 2025 - Critical Inquiry 51 (2):247-267.
    By disentangling the history of free indirect style from the history of the novel, we can see the narratorial complexity of prose fiction at a revealingly early stage, when the channeling of other minds and other experiences seemed less like a generic affordance than a problem of etiquette, moral judgment, and simple intelligibility. Lacking novelistic conventions (for example, quotation marks), the Elizabethan writer George Gascoigne experimented with a range of techniques for representing the voices and thoughts of his characters. In (...)
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  11.  1
    : Reconfiguring the Portrait.Alexandra Irimia - 2025 - Critical Inquiry 51 (2):438-440.
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  12. : The Eye of the Master: A Social History of Artificial Intelligence.Marc Kohlbry - 2025 - Critical Inquiry 51 (2):440-441.
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  13.  4
    : Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature.Anna Kornbluh - 2025 - Critical Inquiry 51 (2):442-443.
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  14.  7
    Dump Puppetry: Ecology, Play, and Object Performance.Gabriel Levine - 2025 - Critical Inquiry 51 (2):347-364.
    This article explores the phenomenon of object performance in the US and France in the late 1970s and early 1980s, variously described as tabletop spectacles, ready-made puppetry, and théâtre d’objets. It focuses on the late-1970s work of three artists: Stuart Sherman, Paul Zaloom, and Christian Carrignon (of Théâtre de Cuisine), whose work in this “minor genre” has been widely influential. Examining the shared and diverging formal aspects of their object work, this article argues that their performances are marked by an (...)
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  15.  1
    : Melancholy Acts: Defeat and Cultural Critique in the Arab World.Karim Mattar - 2025 - Critical Inquiry 51 (2):443-444.
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  16.  1
    : Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema.Jeff Menne - 2025 - Critical Inquiry 51 (2):444-446.
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  17.  8
    On Keeping Things as Books.Fabio Morabito, Kate van Orden, Deidre Shauna Lynch, Tom Stammers & Erin Johnson-Williams - 2025 - Critical Inquiry 51 (2):365-396.
    Music, literature, history. These things are not quite alike. But in Europe, before the advent of recording machines that made it possible for sounds to be recorded and played back, the three activities relied on the same technology of preservation. They were kept in/as books. Bookishness, in European and colonial imaginaries, was an often-idealized, powerful means of keeping things from slipping away. An understanding of bookish things as a repository can be evinced in laws that required preserving a copy of (...)
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  18.  2
    : The Book-Makers: A History of the Book in Eighteen Lives.Leah Price - 2025 - Critical Inquiry 51 (2):446-447.
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  19. The Moment Unbound: When Romance Broke Free from Epic.Fredrik Renard - 2025 - Critical Inquiry 51 (2):268-289.
    This article puts forth a theory and history of the experiential moment of romance, traced from Homer’s Odyssey to Jean-Jacques Rousseau. Differing from other forms of the moment that have been bequeathed by Western tradition—such as kairos, conversio, the Aristotelian pair peripeteia and anagnorisis, or the Romantic Augenblick—the experiential moment foregrounds experientiality within a self-enclosed and atelic temporality: a time that goes nowhere. Building on previous theories of epic and romance that see them as conflicting temporal forms, the first part (...)
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  20.  1
    Into the Abyss: Vilém Flusser’s Theories of Art, Nature, and Culture.Martha Schwendener - 2025 - Critical Inquiry 51 (2):290-315.
    The Czech-Brazilian philosopher Vilém Flusser was best known for his technical image trilogy, Towards a Philosophy of Photography (1983), Into the Universe of Technical Images (1985), and Does Writing Have a Future? (1987), which expanded photography theory into a radically inclusive philosophy of still and moving images for the digital age. However, he was also fascinated by concurrent developments in biology and biotechnology that were changing notions of nature, materialism, and humans. This essay will look at Flusser’s writing around these (...)
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  21.  2
    Critical Response IV: This Photo Does Not Exist: Generativity and the AI Gaze.Avery Slater - 2025 - Critical Inquiry 51 (2):416-422.
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  22.  1
    Critical Response V: AI-Generated Images and Photography: The General and the Specific.Amanda Wasielewski - 2025 - Critical Inquiry 51 (2):423-431.
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