Word: criticizers
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Dates: during 1980-1989
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...exotic delights of the People's Republic of China and as business contacts between China and the U.S. multiply, there is growing curiosity about the state of Chinese cuisine and the quality of restaurants -- what will be offered and how it will taste. To find out, TIME Food Critic Mimi Sheraton spent three weeks tasting a variety of foods in eight cities: Shanghai, Suzhou, Hangzhou, Nanjing, Peking, Xi'an, Chengdu and Canton. Her report...
After decades of neglect, the People' s Republic of China is trying to regain the glory of its ancient cuisine. As TIME Food Critic Mimi Sheraton discovered, Western travelers may encounter some disappointments, but with perseverance, sumptuous feasts and delicious exotica -- as well as good street food -- can be found. A guide to the country' s best restaurants...
Walzer's argument that all social criticism should be akin to the textual interpretation of a book both the critic and criticized party have read is not totally convincing. If Walzer's analogy were complete, for example, we would have to write or co-author as well as read all those books we criticize. Hermeneutics, to give Walzer's interpretive model its formal title, is a fascinating philosophical strategy with a massive history in European thought. But its application to political criticism needs more analysis and justification than has yet been generated...
WALZER'S ARGUMENT that the social critic is less damaging and more constructive if he uses arguments internal to a particular society's experience is likewise provocative but inconclusive. In other writings, he has insisted that people should enjoy the right of self-determination--not because their particular histories embody such rights but because they are human beings...
...most durable form of English hostility came not from the Royal Academy, whose fogies died off, but from the enlightened purlieus of Bloomsbury, where the critic Roger Fry, who had organized the first postimpressionist show at the Grafton Galleries in 1910, and his truculent fugleman Clive Bell, inventor of the catch-phrase "significant form," made it just fine to despise new English art in the name of the French avant-garde. Given their belief in an imperial France whose seigneurs were Cezanne, Matisse and Gaugin, Fry and Bell preferred any imitation of the Ecole de Paris, however pallid, to anything...