![]() ![]() For the very reason that artwork, medium, and meaning are inextricably entwined, mediation and perception constitute two sides of one and the same cognitive coin. It is believed that without such in-built reassessments little justice can be done to the meandering quality of David Mamet’s work, not to mention its wider artistic implications. Therefore the present study aspires to fill a gap in the extant Mamet-criticism by confronting the findings of close readings with a progressive, yet non-causal argument ‘disciplined’ by the interplay of concept and object. ![]() Indeed, only a small fraction of the secondary literature addresses the interrelations between these various ventures, and if so with but limited theorizing involved. ![]() During a prolific career spanning four decades David Mamet has attained a rare degree of popular and critical success in a wide array of artistic ‘disciplines.’ At the same time, his omnipresence starkly contrasts with the extensive, though mostly one-sided scholarly attention his work has received for over a quarter of a century. ![]()
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