Notes

Notes
1
Susan Sontag, "Against Interpretation," originally published in 1964, reprinted in Against Interpretation (New York: Dell, 1967), p. 14.
Sontag
Against Interpretation
14
Against Interpretation
1967
2
Jonathan Culler, The Pursuit of Signs (Ithaca, NY: Cornell University Press, 1980), Chap. 1.
Culler
Chap. 1
The Pursuit of Signs
1980
3
Jacques Derrida, Writing and Difference, trans. by A. Bass (Chicago: University of Chicago Press, 1978), p. 280.
Derrida
280
Writing and Difference
1978
4
Barbara Johnson, "The Critical Difference," in Robert Young, ed., Untying the Text: A Post-Structuralist Reader (Baltimore: Johns Hopkins Press, 1980), p. 166.
Johnson
The Critical Difference
166
Untying the Text: A Post-Structuralist Reader
1980
5
Naomi Schor, "Fiction as Interpretation/Interpretation as Fiction," in Susan R. Suleiman and Inge Crosman, eds., The Reader in the Text (Princeton, NJ: Princeton University Press, 1980), p. 168.
Schor
Fiction as Interpretation/Interpretation as Fiction
168
The Reader in the Text
1980
6
Schor, pp. 166, 177.
7
Schor, p. 170.
8
Shoshana Felman, "Turning the Screw of Interpretation," Yale French Studies, 55/56 (1977), p. 101.10.2307/2930436
101
9
Culler, xi.
10
Susan Sontag, Styles of Radical Will (New York: Farrar Strauss & Giroux, 1969), p. 129.
Sontag
129
Styles of Radical Will
1969
11
J. Hillis Miller, "Stevens' Rock and Criticism as Cure: II," Georgia Review, 30 (1976), p. 341.
Miller
341
30
Georgia Review
1976
12
John Simon, Ingmar Bergman Directs (New York: Harcourt Brace, 1974), p. 259
Simon
259
Ingmar Bergman Directs
1974
Robin Wood, Ingmar Bergman (London: Studio Vista, p. 146
Wood
146
Ingmar Bergman
Birgitta Steene, Ingmar Bergman (Boston: Twayne, 1968), p. 116
Steene
116
Ingmar Bergman
1968
13
Styles of Radical Will, pp. 126-127.
14
Schor, p. 169.
15
Wood, p. 145.
16
Colin McCabe, "Realism in the Cinema: Notes on Some Brechtian Theses," Screen, 15, 2.
McCabe
2
15
Screen
17
Alfred Guzzetti, "Christian Metz and the Semiology of the Cinema," in Gerald Mast and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings, 2nd ed. (New York: Oxford University Press, 1979), p. 195.
Guzzetti
2
Christian Metz and the Semiology of the Cinema
195
Film Theory and Criticism: Introductory Readings
1979
18
Wood, p. 155.
19
Culler, p. 180.
20
Cynthia Chase, "The Decomposition of the Elephants: Double-Reading Daniel Deronda," PMLA, 93 (1978), pp. 217- 218.
Chase
217
93
PMLA
1978
21
Simon, p. 274.
22
Chase, p. 137.
23
Culler, p. 66.
24
Bergman on Bergman: Interviews with Ingmar Bergman by S. Bjorkman, T. Manns, and J. Sisna, trans. by P. B. Austin (London: Secker & Warburg, 1973), pp. 198-199.
Bjorkman
198
Bergman on Bergman: Interviews with Ingmar Bergman
1973
25
Simon, p. 230
26
Vincent Leitch, "The Lateral Dance: The Deconstructive Criticism of J. Hillis Miller," Critical Inquiry, 6 (1980), pp. 602-603.10.2307/1343220
602
27
Roland Barthes, Image-Music-Text, trans. by Stephen Heath (London: Fontana, 1977), p. 147.
Barthes
147
Image-Music-Text
1977
28
John Caughie, Theories of Authorship (London: Routledge & Kegan Paul, 1981), pp. 205-206.
Caughie
205
Theories of Authorship
1981
29
Stanley Fish, Is There a Text In This Class? (Cambridge, Mass.: Harvard University Press, 1980), p. 319.
Fish
319
Is There a Text In This Class?
1980
This content is only available via PDF.

Article PDF first page preview

Article PDF first page preview