Sometimes people, primed to find signs of tendentiousness, read meanings or connotations into words that the writer never intended.
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For the most part, however, they are merely the sideline interpreters of political and social events—and even then, they often see the world through a glass, tinted darkly by ideology or tendentiousness.
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Working within the framework of now-familiar facts, Mr. Weinraub, a former New York Times journalist, has built scenes, dialogue and even characters from what is at best inference and at worst convenient tendentiousness.
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He too announced his jubilation at the IOC's decision: "[they made the] most elegant decision amid the clamour, tendentiousness, unprecedented pressure, desire of some national Olympic committees to remove an obvious contender for Olympic medals from the race by any means".
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What is at stake with the American capitalist propaganda of Koons's "Bouquet of Tulips" is the recognition of art as a means of seeing through Orwellian falseness, through the clichéd, through the indifferent, through the tendentiousness of Trumped-up, hyped-up, falsified life and death.
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We'll be saying more about the particular fooleries, dishonesties and tendentiousness involved in these arguments.
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Modern critic Oleg Mikhaylov saw the novel as marked by tendentiousness, being driven by one motif, that of inevitable resurrection of Antiquity's gods and values.Mikhaylov, Oleg. The Works of D.S.Merezhkovsky in Four Volumes. The Prisoner of Culture (Foreword).
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His literature is one that "by the people and for the people". As Lovinescu puts it, his work blends an "aggressive affirmation of nationhood" and "healthy ethics pushed to the limit of tendentiousness and didacticism" with a cultivation of dialectal speech patterns.Lovinescu, pp. 187–188 In this immediate context, Agârbiceanu seems to have been inspired by Ion Pop ReteganulDragomirescu, p. 84 and Ioan Slavici,Eftimiu, pp.
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In his earlier Istoria literaturii române synthesis, the influential literary critic George Călinescu chose to discuss Rodion and Berman Goldner-Giordano together, as two minor representatives of Dobrogeanu-Gherea's "tendentious art".Călinescu, p.555 In his 1894 articles, Steuerman defined himself as an advocate of socialist- themed literature, admonishing his colleague Bacalbașa for having strayed away from this path. Steuerman-Rodion left literary works which bridged socialist tendentiousness with his own cultural priority, Jewish assimilation.
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311 Belinsky continued to lay out the theoretical basis for his Natural School doctrine in his essays "Replying Moskvityanin", "Reviewing the Russian Literature of 1846" and "Reviewing the Russian Literature of 1847". Detractors accused the Natural School authors of negativism, tendentiousness, plagiarizing French authors and the lack of patriotism. Dramatist and actor Pyotr Karatygin ridiculed them in his 1847 play Natural School. Despite all that, in 1848 (according to Belinsky again) the Natural School became the dominant trend in the Russian literature.
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This led these scholars to regard certain reported events as inauthentic or irrelevant. For example, Leone Caetani considered the attribution of historical reports to Ibn Abbas and Aisha as mostly fictitious while proffering accounts reported without isnad by the early compilers of history like Ibn Ishaq. Wilferd Madelung has rejected the stance of indiscriminately dismissing everything not included in "early sources" and in this approach tendentiousness alone is no evidence for late origin. According to him, Caetani's approach is inconsistent.
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In The Guardian, Stryker Maguire, editor of LSE Review, wrote "I was prepared to dislike Ali's The Obama Syndrome: Surrender at Home, War Abroad more than I did in the end", and "stripped of its Gore Vidal-school tendentiousness, the book has some reasonable things to say about the Obama presidency", while in the New York Journal of Books, the reviewer wrote "Ali’s progressive stance confronts the illusions sold to voters in 2008 by a compliant media and capitalist firms".
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A C Clark says the film accurately uncovers the "mendacity and tendentiousness of The Revolution Will Not Be Televised". Variety says The Revolution Will Not be Televised is a "pro- Chavist docu", adding that X-Ray of a Lie, "exposes the manipulation behind The Revolution". According to Human Rights Watch, the Venezuelan government "allegations have never been examined in court", and the X-Ray documentary accuses Bartley and O'Briain of "omissions and distortion". Bartley and Ó Briain say that it is "not insignificant that Schalk has led the well- resourced campaign, linked to [the opposition], to discredit and suppress [the film]".
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Sanielevici's early attacks focused on the literary school which promoted ethnic nationalism as the source of artistic truth, namely the magazine Sămănătorul and its editor Nicolae Iorga. Călinescu summarized the resulting conflict as follows: "It was against the nationalist tendentiousness that the intelligent Jewish man H. Sanielevici sought to promote a sort of Classicism, with his Curentul Nou magazine". In his Curentul Nou manifesto of 1906, Sanielevici suggested that Sămănătorist culture was anti-Western retrogressive autarky, comparing the Sămănătorists themselves to Liberian mulattoes and Chinese Boxers. Furthermore, he argued, Iorga and the others had never lived the lives of their peasant heroes, and had failed to understand the motivations of land laborers.
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Characteristically, Mikhail Saltykov- Shchedrin in his essay "The Street Philosophy" (Otechestvennye zapiski, 1869, No.6) focused only on chapter 6 of the last part of the novel. Having scrutinized Volokhov's character, he came to the conclusion that this type of person in no way could be seen as a Russian free-thinking man's role model. Vexed by the fact that it was the 'domestic nihilist' type to whom Goncharov had attributed this status of a 'doctrine-holder', the critic saw this as a sign of the novel's tendentiousness and accused its author for "a penchant for abstract humanism." Traditional values of 'goodness' were totally irrelevant for the 'new Russia' with its social problems that were needed to be solved, Shchedrin argued.
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Maksimov's lofty moral stance, often making him come across as a didactic moralizer, his harsh realism and ideological tendentiousness (with his great sympathy for 'the downtrodden', dismissal of the notion of 'success' and hatred for those complacent and righteous 'at the top') made some critics recognize his legacy as an amalgam of both Fyodor Dostoyevsky's and Maxim Gorky's literary traditions. The major point of Maksimov the publicist has always been to highlight the hypocrisy of the ideologies, first the Soviet, then the post-Soviet, cod-liberal one, as well as the whole set of Western 'democratic' values. According to Krugosvet, "some saw him even as a kind of a new Protopope Avvakum with his idea of fighting for Russia and Russianness, as being continually threatened by the hateful Western civilization." In 1979, the works by Maksimov were published in Frankfurt by the Posev Publishers.
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" The critic wrote that Churchill's "concentrated dramatization of their lives has an open, poetic intensity that transcends the flat tendentiousness of mere agitprop." In 2004, Paul Taylor of The Independent argued of the play, "It's amazing how much detail and insight Churchill manages to pack into a succession of spare, short scenes that here succeed each other with a heightened, dream-like fluency. The effect is a haunting blend of intimacy (often dourly comic) and (with roles deliberately cast regardless of age and looks) objectifying defamiliarisation." In 2011, academic Jill Dolan wrote that Fen "represents the British feminist playwright at her best". She praised set pieces such as the dirt covering the playing area: "Even when scenes move to various characters’ homes or other social settings, the dirt remains, a palpable reminder that these people are always mired in the manual labor that provides their only livelihood." The critic argued that "Churchill doesn’t lay individual blame, but constructs a social constellation in which each character is interdependent with the others, even if their access to power and wealth differently marks their experience.
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Other reviews included those by the historian Paul Robinson in The New Republic, Elaine Hoffman Baruch in The New Leader, Michael Heffernan in New Statesman, Kenneth Levin in the American Journal of Psychiatry, Thomas H. Thompson in North American Review, F. S. Schwarzbach in The Southern Review, the psychiatrist Bob Johnson in New Scientist, Thelma Oliver in the Canadian Journal of Political Science, the psychoanalyst Donald P. Spence in the American Journal of Orthopsychiatry, Gary Alan Fine in Contemporary Sociology, D. A. Strickland in the American Political Science Review, Franz Samelson in Isis, and the philosopher John Oulton Wisdom in Philosophy of the Social Sciences. Storr dismissed the book and denied that Freud would have abandoned a theory "because it was unacceptable to the medical establishment". Mitchell wrote that while Masson provided fascinating excerpts from important documents relating to Freud that had previously been carefully guarded, his conclusions were "characterized by a bitter tendentiousness, simplistic rhetoric, and a serious lack of comprehension of the subtleties of later psychoanalyic theorizing." Wray dismissed Masson's arguments as "speculative".
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