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Extra info for DRAMA #3

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Helen Tiffin is less nuanced, and far more condemnatory, of the author’s failure to question the fundamentally ‘English moral standards’ (1995 [1981]: 364) which, she claims, underlie the sport. Of all of his explorations into the relationship between British institutions and colonial experience, Tiffin argues, it is in regard to cricket that James’ critical insight is most obviously misled. ‘Nowhere’, she argues, ‘does James really confront the meaning of English cricket with its uncomfortable West Indian reality’ (364).

James and the Study of Culture James’ willingness to work through the detail of cultural practices, therefore, is not conservative. If he spends time, as he often does, closely examining changes in bowling technique, verse form or film editing, it is not because he venerates culture for its own sake in some romantic way. In the incomplete ‘Preface to Criticism’ that he began during, or soon after, his time in America, he specifically distinguishes his approach from that of a contemporary criticism which responded to any socially or politically inclined reading of culture by turning cultural products into magical objects, objects possessed of a unique potency or aura.

James and the Study of Culture At the start of an essay on Frank Worrell, James makes the same point in language which reveals one of the most profound influences on his mature thought. Worrell, he says, lifted West Indies cricket to the highest peak possible and everybody knew that he had done it. […] But this is the obvious, the accepted, that no one will argue about. That, however, is only the appearance of things, and a great logician, one of the greatest, has clarified the difference between the appearance of things and the essence.

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DRAMA #3 by APAD


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