This chapter summarizes the preceding discussions and presents some final thoughts. The previous chapters addressed “basic problems of stance and mode” in the “composition” of the sentimental mode across fiction, poetry, cinema, and theater. It recognizes that modern literary criticism has had to overcome a programmatic institutional animosity toward cinema, dating from the modernist moment, and that, more recently, film studies has had its own suspicions about literary criticism. This book has sought to dramatize some of the many ways in which criticism in each field can benefit the other, focusing on the sentimental disposition.
Chicago Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.